LA CURVA

Israel Galván has galvanised his efforts to mix flamenco and contemporary music... in a process of improvisation at all times bordering on genius.

- JUAN ÁNGEL VELA DEL CAMPO - DIVERDI

Following its acclaimed premiere last December at the Théâtre Vidy-Lausanne (Switzerland), La Curva arrives at the Festival de Otoño en primavera on a high, with the advanced flamenco dancing of Israel Galván joining forces with the piano of New York-based Swiss composer Sylvie Courvoisier (employing a style somewhere between contemporary and free jazz) and the traditional, earthy cante jondo-style flamenco singing of veteran Inés Bacán, accompanied by the instinctive hand-clapping of the popular Bobote. "A far from conventional quartet for a show beyond classification," according to journalist Juan Ángel Vela del Campo.

As Israel Galván himself explains: "La Curva is born from my familiarity with silence, from my need to deconstruct the flamenco recitals, where singing, music and dance are intimately linked. I wanted to see each element separately, to demonstrate the silence." With La Curva, Galván is continuing to redefine his flamenco vocabulary, displaying all his wisdom to public view. There is common ground between the solo and almost atonal singing of Inés Bacán and the tonic qualities of Sylvie Courvoisier's piano. There is a point of vibration that identifies the original voice with the innovative piano. Entering into that tight space is what Israel Galván is aiming for: "As indicated by Deleuze, any space with vibrations becomes curved, bent, folded. It is in that folded space where Israel Galván now wants to dance," concludes Peter G. Romero.

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