Maria Moreno (Cádiz, 1986) has achieved, with his Magnificat, transforming one of the most venerated episodes of Christian tradition into a flamenco celebration that breathes joy, complicity and authenticity. At the Matadero Dance Center of Madrid, in front of a practically full theatre where the presence of young audiences stood out - a phenomenon that has been repeated in several dance shows of this first biennial of Flamenco Madrid–, the Cádiz-born dancer offered this Wednesday a proposal that manages to be respectful, religious, and radically profane at the same time.
This is her seventh production since she started her own company, although she says she still feels very young and has a lot to do. Magnificat, Moreno recrea the visitation, That is, the biblical encounter between the Virgin Mary and Elizabeth, both pregnant, which will give rise to the prayers of the Ave Maria and the MagnificatBut Moreno does not limit himself to a literal interpretation: his genius lies in understanding this episode as what it really is: the Joyful encounter between two women who celebrate the life they carry withinAnd he does it with the tools he knows best: a flamenco that breathes depth but has no corsets or barriers that restrict its freedom.
The genesis of the work lies in a truncated project that was going to take it to the Royal Academy of Spain in Rome, when after the end of its previous production it immersed itself in sacred music. However, after a year and a half of gestation, the show has become something completely different: a flamenco festival in its purest form.
María Moreno appears on stage, following a rociero drum, dressed in a pink train gown that she later changes into a full, flowing skirt, maintaining her signature color. Under the gown, she wears red stockings and heels, the same color chosen for the bows adorning the bodice of the dress and the braid in her hair. stage presence is overwhelming from the first bar of alegrías, when she comes out playful and soon establishes a complicit dialogue with the musicians: the guitar of Raul Cantizano, the cante de Miguel Levi and palmas, fuss, and so many more things about the tireless and essential Robert JaenThe dancer is, literally, in a state of grace: her dance is powerful, complete, wild, and technical at the same time, a torrent of expressive force that never loses elegance or technical precision.
To achieve this emotional intensity, Moreno has worked in a completely different way, trying to reach an appropriate energetic state that he maintains throughout the work. Magnificat There's no rest, no respite: throughout the successive numbers, the energy is overflowing. She wanted to construct a succession of landscapes always from a place of joy and enjoyment because, as she confessed a few days before the play, that's how she feels today.
"The dancer is, literally, in a state of grace: her dancing is powerful, complete, wild, and technical all at once. A torrent of expressive power that never loses elegance or technical precision."
Rosa Romero: the perfect Isabel
The emergence of Rosa Romero –actress, singer and performer Cadiz woman–, dressed in black with green sleeves adorned with bows and dancing shoes of the same color, breaks the fourth wall and completely transforms the dynamics of the showHer Isabel is, like Moreno's María, joyful, playful, and fun-loving; a woman who knows she's in the background but has come to celebrate, to accompany, to share. The complicity between the two performers is marvelous: they search each other with their eyes, engage with their bodies and voices, from pure joy, from shared enjoyment.
Romero not only accompanies Moreno on stage, but also contributes to the dramaturgy and direction. This is the first time Moreno has included a non-musician on stage, a decision that marks one of the show's innovative aspects. Hers is not an overwhelming presence; she doesn't distract or steal the spotlight, but her presence is essential, not only to elevate the protagonist, but also to the audience, whom she constantly challenges and, on Wednesday in Madrid, provoked laughter and cheers.
The pas de deux between fuss, palmas and feet that interpret in silence constitute one of the most beautiful moments of the show, an exchange of rhythm that speaks of friendship, of sisterhood, of the celebration of the feminine.
Also essential is Raúl Cantizano, who here transcends his role as musical accompanist to become a third protagonist of the storyHe will play with skill and emotion, in the same tone in which the work unfolds, and after the encounter with Isabel, he will take center stage: dressed in a Roman helmet and a cord like a band, not only plays but sings, dances and cheers. His appearance with electric guitar to play a Magnificat electric that leads to some corralera sevillanas with new lyrics created for the occasion demonstrates that Moreno's proposal is not afraid of experimentation or mixing registers.
Miguel Lavi al cante and Roberto Jaén on percussion and palmas They complete a cast that functions as a true ensemble, where each element dialogues with the others in perfect harmony.
"Magnificat is a celebration. A celebration of life, female friendship, and flamenco freedom. It fully reflects María Moreno today, a mature artist who is part of a generation of creators who move easily between performing languages without renouncing their flamenco essence."
An intelligent staging
The stage design is small but effective. Various types of chairs—those we'd find at any Andalusian festival—along with pennants, lanterns, and flowers create the perfect festive atmosphere. But the modern touch comes with a digital announcement screen, similar to those found at any station, which reinforces the messages conveyed by the letters and the cheers, taking center stage when Rosa proclaims the annunciation in luminous red letters.
El musical tour The work is masterful. From the rociero drum that announces the beginning to the closing flower proclamation, passing through the singer's martinete, the carol At the gates of a rich miser (version of the bell ringers) and the soleá por bulerías, each palo flamenco It is chosen not only for its sound but for its expressive capacity and adapts to the scenes that Maria wants to represent.
Special mention should be made of seguiriya with castanets, Perhaps the only moment of true contemplation in the work, where the dialogue between dancer and singer reaches heights of emotional depth that contrast beautifully with the overflowing joy of the rest of the show.
Magnificat It is, as it is said, a celebration. A celebration of life, female friendship, and flamenco freedom, and it fully reflects María Moreno today, a mature artist who is part of a generation of creators who move freely between performing languages without renouncing their flamenco essence.
The final standing ovation of the audience was the well-deserved recognition of an essential work of this first Biennial of Flamenco Madrid.
Credits
Magnificat, María Moreno Company
1st Biennial Flamenco Madrid
Matadero Dance Center, Madrid
June 4th, 2025
Dance: Maria Moreno
Performer and performance: pink rosemary
Guitar: Raul Cantizano
Cante: Miguel Lavi
Percussion and palmas: Roberto Jaen
