Rocío Molina at the Flamenco Festival of Nîmes, self-portrait with three guitars

In the first part of the trilogy, Rocío Molina in an intimate moment full of tenderness with Rafael Riqueni. – Pierre Meuriot

In the first part of the trilogy, Rocío Molina in an intimate moment full of tenderness with Rafael Riqueni. – Pierre Meuriot

In the first part of the trilogy, Rocío Molina in an intimate moment full of tenderness with Rafael Riqueni. – Pierre Meuriot

With Oscar Lago and Yerai Cortes, for a second virtuoso part. – Pierre Meuriot

With Oscar Lago and Yerai Cortes, for a second virtuoso part. – Pierre Meuriot

With Oscar Lago and Yerai Cortes, for a second virtuoso part. – Pierre Meuriot

With Oscar Lago and Yerai Cortes, for a virtuoso second part. – Pierre Meuriot

“Vuelta a uno”, a third part full of freedom, humor and sparkling sugar. – Pierre Meuriot

“Vuelta a uno”, a third part full of freedom, humor and sparkling sugar. – Pierre Meuriot

“Vuelta a uno”, a third part full of freedom, humor and sparkling sugar. – Pierre Meuriot

“Vuelta a uno”, a third part full of freedom, humor and sparkling sugar. – Pierre Meuriot

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“Vuelta a uno”, une troisième volet plein de liberté, d'humour et de sucre pétillant. – Pierre Meuriot

This Sunday, January 12, at the Nîmes theater, Rocío Molina chained the three periods of her “Trilogía sobre la guitarra”, a tender, virtuoso and inventive fresco.

Rocío Molina loves extreme experiences and the Nîmes public loves her extremely. In 2020, in the small hall of the Odéon, she embarked on a research around the guitar that would become a trilogy. This Sunday, after Seville and Barcelona, ​​she danced the three episodes for a crazy day of dance, acclaimed by three full houses at the Nîmes theater. In this intense self-portrait, she reveals herself in a dialogue with guitarists of different styles. Watching the three episodes together allows us to follow her fascinating artistic journey.

In the intimacy with Rafael Riqueni

With Inicio (uno), which the people of Nîmes had not seen in its final version, here is the awakening, the birth of Venus, in a permanent emotion, intimacy and sweetness. The girl, smiling almost from start to finish, appears mischievous, light, mischievous, in a complicity full of tenderness with the elder Rafael Riqueni, hardly kicking her heels. In contact with water, symbol of life, she discovers the joy of movement, freedom, sensuality, to the point of becoming physically one with the scene itself.

In the first part of the trilogy, Rocío Molina in an intimate moment full of tenderness with Rafael Riqueni.

Then comes Al Fondo Riela (Lo Otro del Uno)and the virtuoso Rocío appears, with a breathtaking performance. The guitars of Oscar Lago and Yerai Cortés sound younger and the dancer plays with them in a seductive relationship. With the insolence that only talent allows, she shows all the possibilities of flamenco, dancing with the traditional dress with a long train or invisible, wrapped in colors. The audience is bewitched by the inventiveness, the precision, the poetic and dreamlike power of each gesture.

Virtuoso and liberated

The performance ends with Vuelta a Uno, in a frank complicity with Yerai Cortés, chewing gum and popping sugar. Liberated, emancipated, with a scathing humor, she mocks both the canons and the illusions of modernity. Her absolute mastery allows her, with relish, to push all the limits. With pleasure, in a trance, provocative, she invents herself, reinvents herself. The girl has become an Amazon.

“Vuelta a uno”, a third part full of freedom, humor and sparkling sugar.

This Monday, at 6:30 p.m., Rocío Molina fans will be able to meet her at the Le Sémaphore cinema for a meeting around the film La gran mentira de la muerte, in the company of the director Wu Tsang.