Roberta on the Arts
Miguel Angel Zotto Celebrates 20 Years of Tango X2 with "Buenos Aires Tango"
Home
Contact Roberta
Jazz and Cabaret Corner
On Location with Roberta
In the Galleries: Artists and Photographers
Backstage with the Playwrights and Filmmakers
Classical and Cultural Connections
New CDs
Arts and Education
Onstage with the Dancers
Offstage with the Dancers
Upcoming Events
Special Events
Memorable Misadventures
Mailbag
Our Sponsors

Miguel Angel Zotto Celebrates 20 Years of Tango X2 with "Buenos Aires Tango"

- Onstage with the Dancers


The New Yorker Hotel
The New Yorker Hotel is a historical,
first-class, landmark hotel.

481 Eighth Avenue
New York, NY 10001
(866) 800-3088

Enrico Porreca
Presents
Compañia Tango X2
20th Anniversary Celebration
(Tango X2 Website)
Miguel Angel Zotto’s
Buenos Aires Tango

Concept, Choreography, Direction, Lead Dancer: Miguel Angel Zotto
Musical Director: Pocho Palmer
Stage Set and Multimedia Design: Tito Egurza
Costume Design: Maria Julia Bertotto and Daniela Taiana
Lighting Design: Miguel Angel Zotto and Andres Mattiauda
Director’s Assistant: Andres Mattiauda

Ensemble Dancers:
Gabriel Ponce & Analia Morales
Leandro Oliver & Laila Rezk
Pablo Garcia & Mariana Dragone
Facundo Gallo & Maggie Valdez
Gonzalo Cuello & Daiana Guspero
Ernesto Candal & Mariana Norando

Singer: Claudio Garces
Orchestra:
Daniel Viacava: Piano
Pocho Palmer: First Bandoneón
Alejandro Prevignano: Second Bandoneón
Moises Svidovsky: Violin
Nicolas Zacarias: Double Bass
O + M Co.: Public Relations

At
NY City Center
www.citycenter.org
West 55th Street
Between 6th and 7th Avenue
New York, NY 10019
212.247.0430

Dr. Roberta E. Zlokower
January 17, 2008


There’s nothing like Miguel Angel Zotto’s Tango X2 to heat up a cold winter night. With two acts to showcase this virtuoso tango performer and impresario’s new choreography, Zotto focused first on the birth of tango, its development, and a close-up view of Argentina itself. Then, in Act II, Zotto focused on individual dancers, solos, male-male partner dancing (very macho in style), ganchos, boléos, barridas (See Tango Definitions), and an homage to Troilo and De Caro, two renowned tango composers. With an ensemble of twelve, in mixed and shifting partnering, Zotto mainly danced with Daiana Guspero, but occasionally with a selected female soloist.

Zotto presented a five-man orchestra, including two bandoneonists, an impassioned vocalist, Claudio Garcés, and an understated but quite imaginative media backdrop, that took the viewer right into the streets of Buenos Aires. This was Zotto’s finest and most fashionable production. Costumes, lighting, and sound design were exceptionally provocative, evocative, and enticing. Dancers and musicians performed on two levels, with the orchestra high above the stage. When the orchestra disappeared for numerous recorded tangos, the dancers could use the rear elevation for extraordinary effects, especially in an homage to Piazzolla, with female dancers adorned in extended faux bandoneóns, below a huge projection of Piazzolla on the rear screen.

Costumes spanned from men in dark suits and brimmed hats, women in slit jackets and bare derrieres, women in elegant tango gowns, slit sides and bosomy cleavage, costumes of the brothels (where tango was born), and costumes of the Clubs, where tango was nurtured. Composers of tonight’s dances spanned from Pedro Láurenz, Troilo-Manzi, Flores-Barbieri, Charlo-Castillo, Pontier, Pugliese-Moreno, Plaza, De Caro, to Astor Piazzolla. The dancing was ecstatic and exotic, sometimes veering on dangerous, as first Zotto and his partner danced with one foot skimming over the stage edge and later the entire ensemble repeating this risky ornamentation.

Zotto and Daiana Guspero were mesmerizing, dancing to Oscar Herrero’s “Nochero Soy”, and this couple riveted the audience (many from Argentina) later in the show with modern tango choreography for Piazzolla’s driven and dynamic “Libertango”. A rapid Pontier milonga was danced by Facundo Gallo and Magdalena Valdéz, and members of the Company pulsated in Láurenz’ “Mal de Amores”. Claudio Garcés sang with full fervor, as the Company danced, such as in “Torrente” and “Viejo Smoking”, and sometimes the virtuosic musicians performed alone, such as in Piazzolla’s “Lo Que Vendra” and Greco’s “Ojos Negros”.

Miguel Angel Zotto is the unquestionable star of this and every one of his productions. He enjoys every moment onstage, and his wide, mischievous smile tells it all, during the more rapid, upbeat dances. In the slower, elegant tangos, Zotto is in sync and in style, with attitude, poise, and possession of the moment. He slinks and slides across the stage, holding his partner tightly, gazing into her eyes, lifting, dragging, swirling, and cuddling, with time standing still for Zotto and the lucky woman in his embrace. It is said that “Tango is a three-minute relationship”. Zotto has amassed thousands of three-minute relationships over the decades, as Tango X2 was born 20 years ago with his then partner, Milena Plebs.

Zotto began dancing on the New York stage in the 1985 Broadway show, Tango Argentino, and he is still dancing strong. His energy, talent, and charisma are boundless. He kicks up his legs in the midst of a milonga, and he creates rapid footwork in the midst of a tango. Surely, we would anticipate another 20 years of Tango X2. Miguel Angel Zotto’s youthful ensemble, shifting each year with new faces and new personalities, will bring to New York and international audiences its refined and rare dynamism and its exquisite elegance for decades to come. Kudos to Miguel Angel Zotto and to his Compañia Tango X2.


Miguel Angel Zotto and Daiana Guspero
in COMPANIA TANGO X2’s
“Miguel Angel Zotto’s Buenos Aires Tango”
Photo Courtesy of Carlos Sequier



Miguel Angel Zotto and Daiana Guspero
in COMPANIA TANGO X2’s
“Miguel Angel Zotto’s Buenos Aires Tango”
Photo Courtesy of Carlos Sequier





For more information, contact Dr. Roberta E. Zlokower at zlokower@bestweb.net