Flamenco:
Antonio Marquez and Company

By Patricia Boccadoro

PARIS, 30 April 2001 - All the colours, riches and culture of Spain were concentrated on the small, intimate stage of theAmphitheatre of the Opera Bastille transformed for all too short a time into an Andalusian tavern, with an Antonio Marquez, feet stamping as if possessed , smouldering then exploding onto the floor space.

Born with the fire inside that distinguishes genius from the merely commendable, Marquez, star dancer of the National Ballet of Spain before he founded his own company in 1995, imparts rapture and gaiety to his audience. More exuberant, more of a showman than Gades or the legendary Antonio, Antonio Marquez is nonetheless a pure Flamenco dancer in the great traditional style, following the fixed rules, but mesmerising his audience by the sheer force of his personality.

Possibly the most charismatic dancer since Rudolf Nureyev, he had just the right touch of arrogance as he led his young troupe , the average age not above twenty-two or three, chosen as much for their temperament and, presumably, beauty through an excellent programme of three pieces.

The opening number, Reencuentros, by the talented choreographer, José Granero (who founded the Ballet Espagnol of Madrid), was danced by the whole company, twelve in all. It was a traditional 'ballet', deeply rooted in folk-lore, combining flamenco, a word which originally referred to gypsy dances from Seville, performed to the accompaniment of clapping hands and songs, with classical Spanish dance.

The girls, eyes sparkling, swayed with Southern grace and femininity. They were a joy to watch, with their vivid faces, soft delicate hands, and smooth rounded arm movements. Classically trained, they were all so technically perfect yet full of fire and passion.