Download Críticas - Leonardo Cuello

Críticas
EL TANGAUTA Magazine
June, 2008
by Carlos Bevilaqcua
Quintaessence is, according to the dictionary, the last essence or extract of something, and, in a
figurative sense, the purest, most intense and untarnished part of something. Time, hard work and
artistic sensibility have allowed Leonardo Cuello to build a series of four pieces that, beyond the title
that brings them together, honor the meanings of this word in its realization. What is curious about
it is that he did not need to turn to commonplaces of the genre nor preserve the integrity of the
most traditional tango forms to achieve it. In fact, throughout the show the typical moves of tango
fused with more free ones, known generically as contemporary ballet.
Already the first part, called Diamond, impacts by the technique and expressive power of the performers who dance to the rhythm of a musical selection threaded by sounds of sensuous reminiscence;
rubbing of clothes, whispers or sounds resembling those of a casino. The second segment, Melancholy, revolves around the typical tribulations of a farewell, already staged in the Festival Cambalache of 2006 and that can be identified by the use of flowers as an scenic element. In Urban the
dancers (here they show their abilities as actors) represent the intent of meeting the other despite
the difficulties that a big city brings about. Barefooted, they relate to each other through a more
dense sound context. The closing arrives with Spiritual, where the couples generate images that
correspond to the sampled voices of paradigmatic tango figures, such as Gardel, Goyeneche and
Tita Merello. This piece, that had been staged with good success in a couple of milongas and in
Cambalache 05, reaches emotive moments during the rendition of Nocturna. Beyond a certain
originality in its approach, the general aesthetics of the pieces maintain a strong flavor of tango.
“The pieces do not have a previous script, they came up from the research, the play and the movement itself. Only later did we add other classical theater elements like costume, lightning and
music”, Leonardo Cuello tells us. He is responsible for the choreography and the general direction of
the show. As the first experience of his company, Quintessence may be considered a success, but
also a prize to perseverance.
“Four years ago I started to give shape to these ideas and I suggested to my dancers that we not
press each other. I suggested that we build it as if they were pages of a book”. Each segment is
turned into an independent choreographic event, as he himself explains to us, “the only thing they
have in common is the language of tango and fusion, in the movements as well as in the music”.
Besides incorporating exquisite versions of Color Tango, the Sexteto Mayor and Astor Piazzolla, the
soundtrack includes original compositions by Sergio Vainikoff, prestigious composer of movie,
theater, radio and television scores. The costume by Nora Churquina also adds shades of good taste
to the final product.
Cuello remembers with gratitude the dancers that took part of the project but had to leave the
process because of job offers. The performers that with talent and dedication render Quintessence
are Germán Felipelli and Rocío Leguizamón, Gustavo Vargas and Paola Camacho, Ayelén Sánchez
and Wálter Suquía, Milagros Rolandelli and Lisandro Eberle and Ollantay Rojas and Estela Ortiz. “This
cast comes in its great part from IUNA (National University Institute of Arts), where I teach three
subjects and that has become a fertile ground for my projects”, he adds gratefully.