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20/09/12 15:34 CET
Florez lights up the stage in Orphée et Eurydice at Covent Garden01/10 19:02
Juan Diego Flórez: conveying Orphée’s pain with style01/10 19:01
Hofesh Shechter: simply dancing01/10 19:00
William Christie’s ‘Musical Gardens’17/09 19:01
In the gardens of William Christie17/09 19:00
Glyndebourne 2015: Danni de Niese revels in Ravel03/09 19:01
Laurent Pelly’s love of British eccentricity at Glyndebourne03/09 19:00
Kaufmann’s dark take on Beethoven at Salzburg Festival20/08 18:01
Jonas Kaufmann’s passion for the unique Salzburg Festival20/08 18:00
Operalia: striking the right note in Covent Garden06/08 18:51
Peter Katona: what makes Operalia unique06/08 18:50
Dudamel’s gift of Beethoven to brotherly Bogota21/07 15:25
Rehearsing with the Simón Bolívar, an orchestra like no other21/07 13:56
Center stage: Operalia at the Royal Opera House21/07 12:01
The art of singing Rossini09/07 19:01
Juan Diego Flórez: A unique bond with La Scala09/07 19:00
Sitting Pretty: rising South African star Yende revels in Don Pasquale role25/06 19:02
The musical journey of Pretty Yende25/06 19:01
Cecilia Bartoli as Gluck’s tragic heroine11/06 19:01
A unique collaboration: Cecilia Bartoli and her duo of directors11/06 19:00
“It is a dance that is more like a love embrace. Tango is synonymous with sensuality, seduction, and eroticism.
“It takes two to tango”, says dancer and teacher Jorge Firpo. “Two people dancing in an embrace. There’s a code whereby the man leads and invites the woman to make certain movements. But the man also has to take into consideration the woman’s pace. There has to be a harmonic communion, communication of the bodies.”
Just like Jorge Firpo, Aurora Lubiz has been a dancer and a choreographer for almost 30 years.
Improvisation, creativity, imagination would you think be three keys to being a good tanguero. In actual fact, for Aurora the secret is elsewhere.
“This is the secret,” she confides. “When I first went to a milonga a wonderful dancer told me: ‘Aurora, to dance tango you have to walk the way you walk in life, this is the only thing you need to do, and you have to think of the human being who’s embracing you’.
A sad thought that can also be danced” – this is one of the many definitions of tango. For Aurora it’s more than just that. “I think it’s many different thoughts that can be danced: sad, or happy thoughts, thoughts of betrayal, of suffering, of encounters, of goodbye’s… life!”
“When I manage to open my heart, to open up my body, and I encounter another human being, there, I think, lies the magic of tango. The encounter of two human beings happens as you’re looking deep into each other’s eyes – and then you’re making love!”
Tango began to evolve at the end of the 19th century, based on the dances of former African slaves.
Local peasants drawn to the city, petty criminals living in the drab outskirts, and Italian and Spanish immigrants crammed into the port’s tenement blocks were those who took the first steps of a dance that would soon rhyme with Argentina, and passion.
Today hundreds of thousands of tango buffs cultivate that passion in the milongas, determined to master its secrets.
“We Argentinians are very attached to our neighbourhood, to the local café or bar, where we meet to discuss football or politics… we try to sort out the world’s problems. There are places and topics such as family, parents, mothers, childhood friends that the poet, the lyrics writer, tells us about in tango songs. Tango defines us, it defines our culture, and I don’t know if I could live without tango,” concludes Jorge Firpo, and he means it.
Special thanks to Buenos Aires’ El Querandi (“Nuestro Tango”) and La Faena Hotel Universe (“Rojo Tango”) that kindly allowed us to film some extracts from their shows.
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