Choreographer
Press about choreographies
15 Jul 2010
Press about choreographies

El Olor de la Ausencia

(…) To summarize, the ballet par excellence came from José Carlos Martinez’ creation, “The Odor of Absence.” This fascinating ballet spans an array of feelings and extreme sensitivity, narrating the story of a couple separated by death during the Spanish Civil War. Ghyslaine Reichert, in the role of the fiancée and Aurélien Houette, who incarnates both young lover and ghost, were each sensational in this difficult piece where a kiss remains incomplete over eternity and loneliness gains ground inexorably.

Por la Danza
Iratxe de Arancibia

 

Soli-Ter

Funny, serious and uninhibited, “Soli-ter” shows José Carlos Martinez’ most desenfadada side as a choreographer. Three solos for three dancers, each of which illustrates differing facets of this performer from Cartagena.

Por la Danza
Iratxe de Arancibia

 

Mi Favorita

(…) a choreography by José Carlos Martinez, a Cartagena native and Principal Dancer of the Paris Opéra. Without losing his composure, using a marvelous and communicative pas de deux, he shows us that classical notes can enter into an endless musical score and that it’s possible to play with the notes. This is precisely what José Carlos Martinez has done, quite brilliantly and ingeniously.

Levante, el Mercatil Valenciano
Enrique Herreras

 

Charming and comical

(…)The golden palm for best production surely goes to José Carlos Martinez’ Mi Favorita. This principal dancer of the Paris Opéra has crossed to the other side of the stage to create a funny and dynamic ballet to the music of Donizetti. His classical vocabulary is studded with allusions and gags. Mi Favorita also has delightful and humorous costumes imagined by Agnès Letestu—tutus made of red peppers and see-through plastic! And the 10 happy performers are as good dancing as they are acting (…)

René Sirvin, Le Figaro

 

The Young Paris Opéra Dancers

Accounts from the stage

(…) The best comes after the intermission (…) in José Carlos Martinez’ “Mi Favorita.” This is entertainment that sparkles like good champagne. We see a string of dazzling references to repertory in the flow of buoyant dance. The youth and gaiety of the 11 performers splashes deliciously through refreshing choreography. (…)

Jean-Claude Diénis, Dancer

 

The Young Paris Opéra Dancers

With his first choreography, José Carlos Martinez has created a brilliant ballet colored with discrete humor, which we were able to praise at its premier last year in Roissy-en-France (see ImagiDanse, May 27, 2002). Mélanie Hurel, Isabelle Ciaravolla, Dorothé Gilbert, Bruno Bouché, Alessio Carbone, and Nicolas Paul were excellent performers. For the Paris Opéra’s Palais Garnier, principal dancer and choreographer José Carlos Martinez put the finishing touches on his creation for five pairs. Set to Donizetti’s lively music, he created a perfectly structured classical ballet, while amusingly mimicking a few well-known choreographers, from Perrot to Forsythe, from Petipa to Balanchine. The piece is full of entertaining gags, but never exaggerated. The variations are virtuous, especially Simon Valastro’s and the joyous contributions from Florian Magnenet, as well as the solos of Séverine Westermann in a brilliant plastic tutu, Charline Giezendanner in a hoop of crinolin, Pauline Verdusen wearing a belt of long red peppers, and Mijo Fujii, playing a fugitive Giselle. The 10 artists play and dance with joyous conviction. The ballet is enriched by superb crimson and unusual costumes like those described above, imagined and created by Agnès Letestu, balancing taste and intellect. And José Carlos Martinez makes a finale salute to humor, with a flying Sylphide and a dancer striking the pose of Degas’ young 14 year old ballerina! These are simple but subtle allusions. José and Agnès have secured their future the day they decide to stop dancing, but until then we hope to often be able to enjoy their successful and creative partnership.

René Sirvin

 

(…) Mi Favorita, an entertaining ballet for five pairs imagined by José Carlos Martinez. This first choreography transforms classical ballet, through humor and fantasy, into a series of evocations that fit the young artists perfectly. And they take pleasure in being accomplices that bring this joyous moment of pure dance to the stage.

Jérôme Frilley, Danse

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