After the retirement of the Magrinyà teacher, she continues her work as a dance teacher and choreographer, which had already been her main collaborator, Asunción Aguadé, for many years. She and Fernando Lizundia lead t..."/> After the retirement of the Magrinyà teacher, she continues her work as a dance teacher and choreographer, which had already been her main collaborator, Asunción Aguadé, for many years. She and Fernando Lizundia lead t..."/> After the retirement of the Magrinyà teacher, she continues her work as a dance teacher and choreographer, which had already been her main collaborator, Asunción Aguadé, for many years. She and Fernando Lizundia lead t..."/>

After the retirement of the Magrinyà teacher, she continues her work as a dance teacher and choreographer, which had already been her main collaborator, Asunción Aguadé, for many years. She and Fernando Lizundia lead the dance corps along with solvency soloists and dancers such as Mercè Núñez, Marta Guerrero, Ángeles Lacalle and Gloria Gella. From that moment the dance corps will only participate in the operas and will reduce the number of members to a dozen, expanding sporadically when necessary.

Fernando Lizundia, Assumpció Aguadé, Marta Guerrero and Mercè Nuñez (Faust) —— (Lakmé)

In 1980 M. Pamias dies, the great defender of the Ballet del Liceo and the Consortium of the Gran Teatro del Liceo is created, which strengthens the choir, the orchestra and the return of the great figures of the lyric of those years, but some of the artistic directors and managers of that time considered the body of dance of the Liceo a dispensable element.

Mariacarme Ventura, Ángeles Lacalle and ??????? (La Favorita) —— (La Gioconda)

Those years, in some operas they hired external companies of dance and therefore, the titular ballet did not dance. On other occasions, a choreographer was searched for, sometimes incorporating external dancers, who shared the stage with the dancers of the titular company. Little by little the dance corps was increasingly residual. The last performance was the opera Mefistófele by Arrigo Boito at the end of 1987 . A few months later its dissolution arrives. It is in the year 1988 after an act of conciliation, in the Labor Court signed the settlement to the remaining components. The dance corps of the Gran Teatro del Liceo did not deserve to disappear.

After the disappearance of the dance corps, external dancers and choreographers are sometimes hired. In others the part that would correspond to the ballet and the dancers is filled with the components of the choir or the comparsería, and in other occasions, the ballet part is simply canceled.

Since 1847 there had always been a ballet company and sometimes two or three companies. In the course of these 141 years there were epochs of everything. From just doing the dance part of the operas, to brand new ballets, many of them world premieres.

From that first intervention with the ballet La Rondeña on the day of the inauguration of the Lyceum to the last functions of Mephistophele at the end of 1987 , the bodies of dance of each moment interpreted innumerable choreographies, basically executed with four dance techniques: classical dance, bolero school, Spanish dance and in recent years some choreography with an incipient contemporary dance. This demonstrates the versatility and quality of all the dancers who spent all these years in the Liceu dance corps, as well as the value of masters or choreographers, many of them Catalan, such as Joan Camprubí, Ricard Moragas, Pauleta Pamies or Joan Magrinyà among others.

1988 was a very negative event for the dance and the culture of our country, more it has been that from this year to the present it has not recovered in some way that dance body.

How can it be that in the 21st century, the best opera theater in Spain and one of the best in Europe, just as it has an orchestra and a titular choir, does not also have a titular dance corps?

A question that surely has an answer but nobody, for now, dares to answer.

Tomàs Manyosa i Ribatallada

July 2018