On October, 10, 1971, a bimotored
Cesna plunged down into the waters of Plata River. The
accident took ten victims, all of them members of the ballet
company of the Colón Theater.
The main dancers, Norma Fontenla and José Neglia died
that night, together with the other dancers, Rubén
Atanga, Héctor Zambrana, Margarita Fernández,
Marta Raspanti, Carlos Santamarina, Sara Bockowsky and Carlos
Schiafino. They were flying toward the city of Trelew, where
they would perform in the Spanish Theater.
The news shocked especially the artistic community and
logically so, since the tragic accident had cut off the life
of two of the best Argentine dancers, leaving many brilliant
careers incomplete. That night, a strange turn of fate decided
that Argentine dance should be affected by a loss which was
undoubtedly one of its most important ones in its history.
JORGE
DONN
Regarded as one of the most remarkable figures of contemporary
dance, this Argentine dancer was at the same time the performer
of and inspiration for Maurice Béjart's creations.
He started his training in Buenos Aires, in the School of
the Colón Theater. As of 1963, he took part in the
20th Century Ballet. His career marked the different aspects
of Maurice Béjart's choreographic art. On the other
hand, he performed the most remarkable choreographs and was
the partner of the great Russian "étoiles": Maya
Plissetskaya and Natalia Makarovna. |
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By
the time when, Antonia Mercé staged her Amor Brujo
for the Colón, the repertoire had included works like The
Sylphs, Carnival, The Ghost of the Rose, The
Fire Bird, Thamar, The Consecration of Spring, Lifar's
Prometheus, among other pieces. Margarita Wallmann*
was appointed as choreographic director of the Ballet from late 1930s
till 1940s. Trained in the school of Mary Wigmann, Wallmann developed
the ballet of grand show, with the particularly remarkable Honegger's
oratorio Jeanne d'Arc in the pyre.
Balanchine* worked for our Ballet in 1942. Monte Carlo Ballets
with Massine and the Original Ballet Russe of Colonel Basil*
also performed in the early 1940. |
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| La Sylphide. |
| The Original Ballet merged with the Colón
Ballet in 1943, under the direction of Basil. Several of his figures
settled in America, like: Grigorieva, Irman, Verchichina,
Leskova, etc. Argentina received the art of the Sakharoff,
The Dance Poets, agents of new aesthetics, and the Joos
Ballets of Essen. |
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| Left: Esmeralda Agoglia. Right: José
Neglia y Gustavo Mallojoli. |
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During the 1950s, our dancers Ruanova,
Ferri, Ferrari, Agoglia, Lommi, Truyol,
Neglia, Adamowa, Borovska and Moreno,
among others stood out. The repertoire of the Colón was enhanced
with productions by Massine, Milloss and Gsovsky.
In 1950, the Paris Opera Ballet led by Lifar and Toumanova
brought Lifarian masterpieces. We were visited by Alicia Markova
and Alicia Alonso; the latter began an important activity in
Argentina which would extend up to her last appearance in 1987 with
the Cuban National Ballet. By that time, several important
groups visited our country: the Marqués de Cuevas Ballet,
the American Ballet Theater and some Soviet Ballet groups.
The movement of modern dance acquired a renewed impulse with figures
like Schottelius, Fux, Ossona, Grinberg,
Werberg and others; together with the remarkable Kreutberg
and Dore Hoyer.
(*) Subjects which can be consulted. For more information on these
items, address danza@surdelsur.com
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| Angel
Fumagalli |
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