An old writer used to say that every artist's aspiration should be to be like the circus trapeze artist: that girl who, doing incredibly difficult things in mid-air, even risking her life, never loses her smile. I had to remember this anecdote when I saw... Maria Moreno and Magnificat, the setup with which he has competed in the Nîmes FestivalA proposal that premiered last year at the Madrid Biennial, and which the spectators of the Bernadette Lafon Room They experienced it like a true celebration, with the wonder and joy with which a child celebrates the feats of a circus star.
With seven productions already under her belt with her company, the Cádiz native demonstrates in this new work that when one door closes, a better one can open. A failed project inspired by sacred music ended up suggesting the idea to Magnificat, Which is the song that the Virgin Mary sang during the visit of her cousin Elizabeth, when both were pregnantBut don't think this is about praying, or not in the way believers usually understand it. There are no candles or incense here, but rather what look like the remnants of a village fair, with overturned chairs and hanging garlands. It seems the revelry is over, but it's only just beginning…
It is well known that in Andalusia, the spiritual and the physical are inextricably intertwined. Even the tragic death of the Lord and his subsequent resurrection are enveloped in an aura of strength, joy, and sensuality. Moreno, wonderfully supported by her colleagues, will also play with these contrasts, while puts on a top-notch dance performanceIt is not easy to summarize all the passages through which this Magnificat It takes us along relentlessly, but we can certainly say that it is an amazing journey, which has a great deal to do with deconstructing the codes. flamencos.
"It's much better to emulate the circus trapeze artist, smiling from ear to ear up there. That's how we watched, wide-eyed and happy, the triple somersault with a twist by María Moreno and her teammates."
The playing with the shawl in a silence that underscores Moreno's supreme skill with this instrument, as he will later do with the castanets in the powerful seguiriya; the dizzying duel of rhythm with Robert Jaen, who by the way also gave a top-notch performance; the guitars of Raul CantizanoThe flamenco and the electric guitars, both providing a fundamental sonic channel for the different temperatures of the performance to flow; and that Miguel Lavi She sings everything beautifully, from a Christmas carol to a champion saeta… Everyone shares in a rare sense of communion, united in a spirit of complicity, almost familial, which ends up infecting the audience. Before we know it, we're all caught up in it, and we don't want it to end.
As if all this weren't enough, the secret weapon of Magnificat: that Pink Brown, young island performer, who, paraphrasing the apocryphal headline of New York TimesShe may not sing or dance, but in her role as Isabel, she infuses the show with an overwhelming energy and comedic flair. From her comical yet tender counterpoint, the islander had the audience roaring with laughter with her barrage of antics. flamencos (“Let’s remember, Maria…!”), relieving Moreno for a few minutes of a leading role that must be exhausting.
All this joking around in large doses could distract us from the enormous merit of the numbers. MagnificatBut at parties, emphasizing the difficulty seems almost rude. It's much better to emulate the circus trapeze artist, grinning from ear to ear up there. That's how we watched, wide-eyed and delighted, as María Moreno and her teammates performed a triple somersault with a twist.
Credits
Magnificatby María Moreno
Festival Flamenco Nimes
Theater of Nîmes, Bernadette Lafon Hall
January 16, 2026
María Moreno, dance
Rosa Romero, performance
Raúl Cantizano, guitar
Miguel Lavi, cante
Roberto Jaén, percussion and palmas
