Israel Galván - A Negro Producciones

PRESS RELEASES
Showing his mastery by standing still
It’s extremely rare in any genre to see a dancer of this singular imagination and authority.
(Alastair Macaulay, THE NEW YORK TIMES, 13/09/11)
To call Galvan a brilliant dancer is like saying Einstein was pretty good at physics. I have never seen
anything remotely like him.
What propels him into the league of genius is his pinpoint precision, his absolute mastery of
balance and poise. And his musicality is astonishing, the sheer kinetic energy of his movement.
Absolutely breathtaking. (Neil Norman, DAILY EXPRESS, 11/02/2011)
He performs a mix of ragged virtuosity, idiosyncratic moves, and almost mime-like gestures that
lustily convey flamenco's passions without enacting every one of them.
Galván seems to achieve the near impossible feat of embodying flamenco's "duende", or demon,
while avoiding its clichés. This is rare, as is his artistic authority and undoubted sensuality.
Perhaps the best thing about Galván is his reimagining of flamenco moves.
(Sarah Frater, EVENING STANDARD, 10/02/2011)
(...) is a show where popular music, classical or contemporary music and dance come together to
produce a roaring success day after day in its twelve performances last December in the Vidy
theatre, constructed by Max Bill, in Lausanne, Switzerland. We are talking about La Curva (The
Curve) – a work which unites the advanced flamenco dance of Israel Galván, the
freejazz/contemporary piano of the New York-based Swiss composer Sylvie Courvoisier and the
earthy cante jondo of the veteran singer Inés Bacán, all accompanied by the clapping hands of the
popular and intuitive Bobote. This is a far from conventional quartet for a show that is impossible
to classify, a show that will be performed in 2011 in the Cuyás Theatre, Las Palmas, Gran Canaria
for the Dance Day celebrations, in Madrid as part of the Autumn in Spring festival, in the Festival
Flamenco del Parco della Musica in Rome and in the Théâtre de la Ville, Paris among other places.
Israel Galván has made a huge mark with his passion for merging Flamenco and Contemporary
music, exploring the deep-rooted bases of the former while, this time, moving away from his
beloved Ligeti and Messiaen in order to immerse himself in a process of improvisation which
continuously touches genius. In his last show, Solo, performed in the Abadía Theatre some months
ago, he already did away with music altogether, pitting his dance against geometry, material
textures, stacks of wooden or metal chairs and other artistic distributions of the most daring kind.
Now he goes various steps further and mixes Vicente Escudero with Pina Bausch into his