{"id":55470,"date":"2022-11-29T11:43:37","date_gmt":"2022-11-29T11:43:37","guid":{"rendered":"https:\/\/www.danceforyou-magazine.com\/?p=55470"},"modified":"2026-04-16T07:28:47","modified_gmt":"2026-04-16T07:28:47","slug":"israel-galvan-la-consagracion-de-la-primavera","status":"publish","type":"post","link":"https:\/\/www.danceforyou-magazine.com\/en\/israel-galvan-la-consagracion-de-la-primavera\/","title":{"rendered":"Israel Galv\u00e1n: La Consagraci\u00f3n de la Primavera"},"content":{"rendered":"

Israel Galv\u00e1n brings his own, compelling version of Igor Stravinsky\u2019s
\nLe Sacre du printemps\u00a0 <\/i>to the London stage<\/span><\/b><\/h3>\n
\"\"
\u00a9Jean-Louis Duzert<\/figcaption><\/figure>\n

Expect the unexpected as Israel Galv\u00e1n delivers a performance of mesmerising brilliance and originality in La Consagraci\u00f3n de la Primavera <\/i>(The Rite of Spring<\/i>). His fearless, contemporary approach to flamenco is entirely his own and he commands the stage with unadulterated charisma. It\u2019s as if he is a rare breed of human being, able to bottle all our sensory experiences. The sound of his fleet zapateado, mingling with the crunch of his boots on a gravelly surface, the multiple boards and platforms placed strategically across the stage, amplified to varying degrees, make each phrase a surprise. Galv\u00e1n breaks the rules at every opportunity, yet his classical flamenco still remains at the heart of his work. There is no orchestra but two grand pianos placed stage right, played with exceptional panache by Daria van den Bercken and Gerard Bouwhuis in Stravinsky\u2019s own reduction for four hands. They are integral to Galv\u00e1n\u2019s plotting and make us hear the score in a fresh, illuminating way. In addition, they play Domenico Scarlatti\u2019s Sonata K87 <\/i>and Frederic Rzewski\u2019s Winnsboro Cotton Mill Blues<\/i> miraculously segueing into less harrowing passages of music.<\/span><\/p>\n

\"\"
Israel Galv\u00e1n in “La Consagraci\u00f3n de la Primavera”. Photos \u00a9Filippo Manzini<\/figcaption><\/figure>\n

Galv\u00e1n\u2019s response to the music is visceral and because of his innate sense of rhythm, this Rite<\/i> feels like a very good fit. Even when barefoot, his feet find the floor and hold spectacular conversations with it, either seated or standing. At once he becomes a maverick performer and nothing distracts us from watching his magnetic, intimate moves. <\/span><\/p>\n

\"\"
\u00a9 Filippo Manzini<\/figcaption><\/figure>\n
\"\"
\u00a9Filippo Manzini<\/figcaption><\/figure>\n

There are nods to Nijinsky\u2019s L\u2019apr\u00e9s-midi d\u2019un faune<\/i> in his posture and arm movements; there are even moments of humour but throughout his 70 minute performance, it is his unwavering focus and the intensity with which he executes absolutely every breath, that keeps us hooked in for the duration. Even the way he enters and exits the stage in order to add or subtract to his costume, has a certain flourish. Galv\u00e1n is eminently watchable and whilst he had clearly captivated the audience, he seemed almost surprised at the warmth of the reception. This is worth seeing no matter where he is in the world.<\/span><\/p>\n

By Deborah Weiss<\/span><\/p>\n

\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Israel Galv\u00e1n brings his own, compelling version of Igor Stravinsky\u2019s Le Sacre du printemps\u00a0 to the London stage Expect the unexpected as Israel Galv\u00e1n delivers a performance of mesmerising brilliance and originality in La Consagraci\u00f3n de la Primavera (The Rite of Spring). His fearless, contemporary approach to flamenco is entirely his own and he commands […]<\/p>\n","protected":false},"author":5,"featured_media":55474,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[72],"tags":[],"class_list":["post-55470","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-performance"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.danceforyou-magazine.com\/en\/wp-json\/wp\/v2\/posts\/55470","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.danceforyou-magazine.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.danceforyou-magazine.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.danceforyou-magazine.com\/en\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/www.danceforyou-magazine.com\/en\/wp-json\/wp\/v2\/comments?post=55470"}],"version-history":[{"count":5,"href":"https:\/\/www.danceforyou-magazine.com\/en\/wp-json\/wp\/v2\/posts\/55470\/revisions"}],"predecessor-version":[{"id":55480,"href":"https:\/\/www.danceforyou-magazine.com\/en\/wp-json\/wp\/v2\/posts\/55470\/revisions\/55480"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.danceforyou-magazine.com\/en\/wp-json\/wp\/v2\/media\/55474"}],"wp:attachment":[{"href":"https:\/\/www.danceforyou-magazine.com\/en\/wp-json\/wp\/v2\/media?parent=55470"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.danceforyou-magazine.com\/en\/wp-json\/wp\/v2\/categories?post=55470"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.danceforyou-magazine.com\/en\/wp-json\/wp\/v2\/tags?post=55470"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}