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Federico Fernández: "Unfortunately, being part of the Colón is no longer the dream of children"

Federico Fernández: "Unfortunately, being part of the Colón is no longer the dream of children"

The first dancer of the national coliseum, who will arrive in La Plata from the hand of the dance company he directs, said that the theater suffers the reflection of the coming and going of a country in crisis

Known for having said what he thinks, without worrying about what he can generate, Federico Fernández, the first dancer of the Colón, does not hesitate to ensure that the situation lived inside the public theater is nothing but the reflection of what at the macro level It happens in the country.

"Being part of the Stable Ballet is sometimes a pride and sometimes it's not like that: it's the coming and going of a country that is reflected in a public theater like the Colón," said the dancer in dialogue with EL DIA.

Fernández, who started dancing at the age of 12 and was already at Colón when he was 18 – after passing through the Ballet of Argentina, the Concert Ballet and the Ballet of the Argentine Theater – recognized that he had a "fast tour, almost without giving me" lived like "a scale I did not know at that moment".

At 31, with a position that does not include political corrections, he showed no concern in the language when he spoke about the news of the first national coliseum.

"Unfortunately, I do not think it's still a child's dream to be part of Columbus." Dancers prefer to go abroad.While there are more competitions to enter the ballet, they are not enough, the artistic criteria do not help much less. directions ".

Critical with the current management, he declared that "the Colón is a" small world "separate from the rest" and threw exorbitant figures on what he said to be "posts that were invented in the last two years" that "not yet close "they are approaching what one of the dancers could ever collect. "They are annual contracts of totally unnecessary people and in many cases inoperable and functional to the dismantling of a public theater", he threw, spicy.

"He feels a lot of pain for what is happening in the country in general, everything affects me the same way," said Fernandez, who focused on his environment: "I can tell you that it is becoming more difficult for the independents, but no doubt they are enthusiasts who have a genuine interest in dance, and who survive and nourish themselves with knowledge, seek and manage to resist despite such appalling crises ".

Within this group of fans and lovers of dance is he, the former dancer became producer Karina Battilana and a group of people who jump into the pool creating an independent company with which the vice of the advice of the foot .

"It's wonderful to be able to survive and continue to provide culture and art from the stage," said Fernández, director of the Buenos Aires Ballet.

The company, created almost three years ago, arises from the need to bring the art of classical ballet in the most diverse phases of the country and the region, but also, and thinking of the dancers themselves, as a concrete one. possibility to perform more functions

Usually integrated by the dancers of the Colon, even if with sporadic participation of dancers from the Argentine Theater and other Latin American giants, Buenos Aires Ballet presents a gala structure with pas de deux of the international repertoire, among which stand out, The Spectrum of La Rosa, Bayadera, Coppelia, Insanity with choreography by Leonardo Reale. Sometimes they are accompanied by singers of the Julio Bocca Foundation, who play Bossa, Las Llamas de París, El Talismán and Orillera tangos and A Buenos Aires.

In relation to the scheme of his shows, the dancer said that unlike the other companies there is not a first figure and a body of dance: they are all dancers who play the role of soloists and first dancers in the Colón. The cast members include names such as Ayelén Sánchez, Jiva Velazquez, Emilia Peredo Aguirre, Emanuel Abruzzo, Ludmila Galaverna, David Gómez and Eliana Figueroa, part or former of Colón; and some independent artists, such as Julieta Zabalza, "a Jazz dancer because there are few in Argentina," warned Fernandez.

Consulted on how to move in parallel between his two faces, as a permanent member of the ballet of Columbus and as director of the company, the dancer assured that there is no interference.

"Maybe we could do more tours and more features but with the commitments of the Columbus season we can not take them forward, which is why we make more presentations for Capitale, Grande Buenos Aires and the interior," he confessed.

In relation to the artistic possibilities that give him one and the other work, he said that the fact of playing in the Colón allows him to "work with national and international choreographers", added to the fact that it is the most important in the country. And he highlighted the self-management experience he is receiving when he moves in the independent field with the company because he "understands a lot more behind the scenes".

In any case, he claimed to have been able to capitalize on the two experiences and complete them. "The Buenos Aires Ballet gives you the chance to take new steps and personal challenges that will give you more panoramic security when you get on the Colón stage," said Fernández.

The Buenos Aires Ballet, which would have appeared tonight at the Metro theater, had to reschedule the show for December 2nd.

Enthusiastic about the company's upcoming debut in La Plata, Fernández was delighted with the upcoming functions of the company, including a new role at the ND / Ateneo in Buenos Aires on October 27; then the celebration for the 3 years of the company at the Teatro El Círculo de Rosario where they were born as ballet -25 November-; finally, during the summer, with his first international tour, from countries like El Salvador, Bolivia and Cuba.

reprogrammed

The show that Buenos Aires Ballet would have offered tonight at the Teatro Metro, 4 between 51 and 53, was rescheduled for December 2nd.

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