Lynne Glazer


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The French Canada-based Cavalia performance has been described variously as a ballet between man and horse, a gentle, romantic dance, a civilized showcase of precision horsemanship and courtly behavior, and a constant yearning to be airborne. It is indeed the magical encounter between horse and man that it is billed, opening to sold-out crowds and standing ovations at the engagements scheduled so far in Canada, San Francisco, Los Angeles and Seattle. [Magali & Estelle Delgado, Dao & Penultimo]
For artistic reasons, Latourelle installs them in a darkened booth above the back of the set, made transparent from time to time and lit by projections of a forest so musicians and singer are silhouetted against trees. The effect of the music coming from almost nowhere is haunting.
At an early age she began training with some of Europe's finest riding masters, and distinguished herself in competition at the Grand Prix level and also in haute école.
As equestrian co-directors of Cavalia and performers as well, they bring a wonderfully gentle and magical way with horses to the heart and soul of the production. Cavalia is a chance to give freedom back to horses. [Magali, Templado, Fred, Fasto & Aetes]
Magali Delgado will tell you proudly that her parents, Pierre and Joëlle Delgado, have dedicated their lives to raising these intelligent, sensitive Lusitano horses that show a rare willingness to connect with and engage with humans.
The screen behind the stage provides the dreamscapes, variously bearing ancient imagery of horses and their riders, or of a beautiful fall forest, or a centuries-old European town square, or the ruins of a coliseum. At one point, a very thin sheet of water begins to fall from the ceiling to the sanded floor of the stage, making a misty veil-between-the worlds to separate two riders who look through it toward each other. Daring roman riders race at devilish speeds, taunting and goading. Delgado rides her glorious white stallion Dao, who has a pan-European recognition as a Grand Prix horse as well as being a performer in Cavalia, in several acts. Especially fascinating is a "twin" act with her sister Estelle and her stallion Penultimo, where they ride in complex patterns, every movement in opposite image.
For artistic reasons, Latourelle installs them in a darkened booth above the back of the set, made transparent from time to time and lit by projections of a forest so musicians and singer are silhouetted against trees. The effect of the music coming from almost nowhere is haunting.
For artistic reasons, Latourelle installs them in a darkened booth above the back of the set, made transparent from time to time and lit by projections of a forest so musicians and singer are silhouetted against trees. The effect of the music coming from almost nowhere is haunting.
For artistic reasons, Latourelle installs them in a darkened booth above the back of the set, made transparent from time to time and lit by projections of a forest so musicians and singer are silhouetted against trees. The effect of the music coming from almost nowhere is haunting.
See photo in original gallery.
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