María Pagés - Press

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THE JAPAN TIMES, 17/05/2013

Pagés has been called the “Queen of Flamenco”, and watching her perform it’s easy to understand why.

HKELD, 20-04-13

One of the best Flamenco shows I have seen, it was one of the best shows of any art form I have had the privilege to watch.

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Review of Autorretrato by Mélanye Boissonneault (in French)


Pagés herself towers above the other performers – a commanding presence who takes us into the core of flamenco as she understands it. She is the dance – the kind of dance that makes the Earth turn. The body curls, finger by finger, the hips seduce, the frills of the skirt entice. The instruments and the singers keep the rhythm strong. The feet are the music. The hands are the speech.
See Pagés perform to know flamenco.

EL PAÍS, 24/09/2012
Visual Rapture

Don’t miss Maria Pagés’ latest show, Utopia, a Flamenco ballet in which the ‘bailaora’ (Flamenco Dancer’) from Seville borders geniality. With great mastery, this artist weaves a fertile dance of elegant staging and intense music – played live – with suggestive and expressive dramatic art. If we add all this to the magnificent performance by the excellent dance company, Utopia becomes the best choreography to be born of Pagés’ talent so far. (...) Pagés’ show does not recreate utopia, it becomes a reality. We are witnessing a sensitive and fascinating tale, that brings back to mankind the echo of it’s own ideals.

LA VANGUARDIA, 22/09/2012
A Beautiful Utopia

Maria Pagés fills her dance with gestural fantasies; the mastery of her arm movements, in constant undulation, no brusqueness, is of an unusual beauty, and the precision of her heel-work attains perfection. But Maria is more than just a ‘bailaora’ (Flamenco dancer): she is a person who is capable of capturing the essence that serves as inspiration for poets and pours it into her dance; she is an exceptional choreographer, able to form a disciplined group out of her Company, a beautiful wholeness, that yet respects and drives deeper into their individual artistic capacities.

THE AUSTRALIAN – 24/08/2012
Emotional truths in time of plenty

“María Pagés has a wild spirit that's strengthened, although this may seem paradoxical, by her poise and containment. (…). Billowing drapes, the colours of the desert, images of life's cycle and the sounds of old cultures form a frame in which Pages and Cherkaoui, who is Morrocan-Flemish, meet.”

Spring opens with a magical combination

“Maria Pages brings the electricity of flamenco to her contribution, giving a performance that is earthy and feisty yet coolly elegant. ”

LIBÉRATION – 27/07/2012
In the Orbit of the Great Dancers

“She is masterly when dressed in her Flamenco gown, her ‘bata de cola’. When wearing trousers, in homage to Carmen Amaya, she becomes more masculine, drier but without rigidity, virtuous in her footwork. And there is a bewitching moment: when she makes her appearance barefoot and dressed in red. In this solo she portrays many different women, as she plays with her veils, revealing herself. Utopia is a complete show, that also includes poems by Baudelaire, Benedetti, Neruda, Machado, El Harti and Cervantes’ Quixote, who is much loved by Oscar Niemeyer.”

LE PROGRÈS – 25/07/2012
María Pagés: Dazzling at Fourvière

“The piece is made up of eight parts, allowing her to perform stunning solos. Dressed in a fitted black suit, she reveals all the subtleties of Flamenco dance. She draws elegant spirals with a red veil. Dressed in a grey dress and wearing red high-heeled shoes, she is impressive in the way she moves the fans, also crimson colored. She renovates Flamenco, makes it modern, strips it of it’s monotonous repetitions. She also mixes her musical universe with Latin-American sounds, sambas. She deserves the ovation the totally captivated audience gave her“.

EL PAIS- 10/03/2012

It could be thought that, with such a baggage of productions behind her, a new show by Maria Pagés might not have the potential to surprise us. Her meticulous choreographies and her use of lighting or other techniques to create visual effects are already a part of her company’s heritage. So is her dance, her figure, the capacity of her arms to suggest an infinite number of shapes, and the force of her footwork. And it is no revelation that she has an unprejudiced vocation for interchange, as she is convinced of the need for an understanding between cultures using music, ballet or dance, but always through the prism of the mother language that is hers, Flamenco. Thus, what is surprising is that even when using the same materials, she is able to weave new tapestries, and accomplish even higher levels of refinement”.


“Here we are presented with a Flamenco show that holds a level of intellectuality that is adequate for the present times. We are offered a proposal of great cultural content, in which the classic and the modern intervene and interrelate, using literary, musical and aesthetic influences from very diverse sources, all brought together to give birth to a new creature, an original and innovative synthesis”.

EL MUNDO- 10/10/2011

“Maria Pagés centers the message by ways of a powerful exercise of physical and mental dominion. Utopia is a subtle staging, harmonious and theatrical, the end result of Maria’s clear ideas on what to say and how to say it. It has the power of simplicity. As an example, those minimal lines that hold the power of expressive substance. They frame, expand or enclose what we are watching, thus providing a landscape for the dance. The lighting is subtle, focusing one’s attention on the expressivity of the performance, giving us a clear message of optimism and stimulation”.

AGENCIA EFE – 29/3/2010
Maria Pagés closed the Costa Rican Festival with a perfect finale – and a Spanish flavor.

"“Flamenco Republic”, the show put on by the artiste from Seville in the Costa Rican National Theater, gained ovations from the audience, in a festival featuring artistes from 20 countries …"

DIARIO NACIÓN – Costa Rica. 28/03/2010

"Maria Pagés, a dancer who has become a maximum authority in the “Republic of Flamenco”, conquered the audience that attended her show at the National Theater on Saturday, with her energetic turns, the intensity of her footwork and her passion for Flamenco.
An audience brought to their feet, many “bravo Pagés” and an over twenty minute ovation left not a shadow of doubt: Maria Pagés and her company’s production, “Flamenco Republic” (participating in the 2010 International Arts Festival) was a thrilling performance. …"

FINANCIAL TIMES – 24/02/2010

"María Pagés then took over the stage on Monday night in irresistible fashion. The programme identified the event as a “self-portrait” and went into unlikely detail. Happily, what we saw was an archetypal flamenco show in which The Star (and Pagés is certainly that) unleashes her artistry to musicians, singers and attendant dancers, and to us. …"

ABC – 14/02/2010

"The North American audience can raise up a storm when they like a show. And the audience that was at the first performance of Maria Pagés’ “Autorretrato” (“Self Portrait”) in the City Center, within the Flamenco Festival, went over the whole repertoire – they stood, stamped their feet, whistled, clapped, shouted...."

Agencia Efe, 11/02/2010
The spiral shaped Guggenheim unites flamenco music and fashion.

“Pagés - dressed in a spectacular red and black velvet flamenco gown - danced, deeply moving the audience of several hundred New Yorkers attending the performance”.

ABC – 10/01/2010

“In the Teatro Real, Maria Pagés and Tamara Rojo have joined their talents again. They are the two figureheads of Flamenco and Ballet in our country – two artistes that we can always boast about”.

EL PAÍS – 9/1/2010

“Maria Pagés, dressed in her own designs, uplifted by her personal form of dancing and style, filled the stage with dignity and prowess ”.

HERALD TRIBUNE – 10/10/2009

“Pagés was always in full control of her impressive gifts, including an impeccable flamenco technique and the ability to communicate both ferocious erotic appeal and sly wit”.

ABC – 20/11/2009

“Maria Pagés and Sidi Larbi Cherkaoui have woven their indisputable art to create a magnetic piece, in which each one keeps hold of his own personality, to portray together a common landscape. “Dunas” (Dunes) is extraordinarily beautiful. ”.

EL PAÍS – 30/10/2009

“Maria Pagés advances - just as a majestic female pharaoh - through this desert with versatile footwork, moving her long sinuous arms, caressing the sand, drawing on it what her travelling companion dictates to her”.

EL PAÍS – 22/3/2009

“On a human scale, enhanced by good lighting, an exquisite wardrobe displaying an efficient range of subtly colour-degraded shades and establishing the rules of Flamenco dance with a strong contemporary slant to it. The audience gave a standing ovation such as had not been witnessed by this critic in a many years”.

HABANA RADIO – 3/11/2008

“Noiselessly and without artifice, these dancers completely filled the stage at the Mella Theatre with flamenco and poetry, creating one of those moments that can be described as unforgettable, in the 21st International Ballet Festival in La Havana. ”


Once again, a success for Maria Pagés in the Biennial, with her latest show “Autorretrato” .

EL PAIS – 27/09/2008

"The sound of castanets tapping (a master class) and her dance with the gold and black shawl - making it move as only she knows how - in “alegrías”, in rhythm, displaying herself, then coming to a halt at the moment of maximum intensity, thus bringing about a standing ovation from the audience."

EL MUNDO – SANTANDER – 11/8/2008

"The dancer of “infinite arms” merges with the city in a dance that recalls and surpasses the memories of the sunlight, the streets, the orange trees and the olives of her homeland."

LA VANGUARDIA 06/08/2008
Poetry in movement

“…..Sevilla is the best flamenco performance that has reached Barcelona in the past years. Created by María Pâgés, a brilliant dancer who is full of sensitivity and expressivity, this show, with its cast of artists and musicians, reaches a high degree of true poetry in movement.”

EL PAÍS 05/08/2008
Pagés dazzles the Liceo

This dancer and choreographer displays an immense range of techniques onstage. Her long sinuous arms hold the secrets of thoroughbred dance, whilst her vital tap-dancing takes over the floor with extraordinary elegance.

An artist of passionate force

“……The choreographer re-affirms her tremendous creativity with a great show.”

María Pagés’s flamenco

“…..To be able to see so see this María Pagés from such a short distance, to be able see the truth of her elegant maturity, should be a rightful pleasure for the masses, a menu not to be refused.” (Alfonso Arribas)

EL MUNDO 11/03/2008
María Pagés’s flamenco

“María Pagés’s flamenco pulls tradition forward into her own ample creative territory using large doses of sensuality..…She danced wrapped and tangled with her own body, broken into angles or filling up the vertical space that goes up to the sky; pulling us along with her and scorching us.”
“…immensely enjoyable and brilliantly danced.”

How the dancer with endless arms embraces art with a heart

“Pagés has the charisma, the crowd-pleasing technique and the commanding choreography to hold an audience…”
“…immensely enjoyable and brilliantly danced.”

THE TIMES, 06/03/2008
“Pagés is a class act.”

“The audience went wild at the curtain with the kind of foot-stomping enthusiasm…”.

EL MUNDO, 11/10/2007
In state of grace

What is nearly impossible to get, it is achivied by María Pagés in this homage to her hometown: an enormous and great spectacle however categorically emotional....

ABC, 8/10/2007
A magnificent homage

María Pagés, one of the most exceptional voices of flamenco dance nowadays... The Sevillian artist has repeatedly shown her imagination, her choreographic courage, her singularity and her intelligence.../p>

EL PAIS SEMANAL, 23/9/2007
The free flamenco of “La Pagés”

Without prejudices. Without complexes. Free to invent and also to insist on the clichés. The versatile bailaora and choreographer María Pagés, Nacional Dance Award, is released to the rescue of a truthful dance with “Sevilla” a trip to the essence of her hometown that lands in Madrid...

Flamenco flame lights up the night

Pagés takes flamenco to a new level, mixing the traditional form of art with her own contemporary take on it whilst still retaining the true meaning of the dance

FIGARO SCOPE , 18-24/4/2007
María Pagés à Chaillot

Flamenco , L’énergie poetique ...

EL MUNDO, 13/3/2007/
Intelligent and creative

The Sevillian María Pagés is a wonderful model of woman: creative and modern artist, free, qualified and intelligent... If there is something that can sum up that mythical night in the Círculo de Bellas Artes... is the power with which “la Pagés” could communicate that particular democratic sense and without boundaries in her dance. Thus it came through the veins of all of the audience, giving her heart assisted by a very excellent lighting, and only framed by a simple background curtain and a confident and correct group...

EL PAIS, 13 /09/2006
The ended and rigorous perfection

Some time ago, it has been a long time since I had no seen a dance with such ended and rigorous perfection. She is a worthy example of what flamenco dancing has full of unique and exclusive in itself, since there are no rules to follow and so on. There are none apparently, because actually flamenco dancing is an art subjected to a discipline that is not seen but felt....

...María Pagés, once again, is the absolute star, in a play that offers many opportunities for showing off her own skills. Her dancing is statuary, with many records that bear his stamp. When she is contracted or when releases, all the dancer’s task is a prodigy of absolute devotion... As author of the choreographies, her creational way is demonstrated all the time, either in her own dances or the dances performed by the girls and boys of her group. All of them are wonderful, dancing masterfully items entrusted to them, which are not few...

ABC, 13/09/2006
The very personal aesthetic of María Pagés

...She is wrapped up by a cast of quality in all aspects, the body dance embellished so much the ”zapateados” as the “alegrías”, as well as those ones who took part together with “the Master”, especially on the theme performed with walking sticks and castanets that is handled with a extreme originality and a sense of humour without losing a whit of flamenco in its drama because its development is cleverly worked out

Its secret lies in who has managed to adapt the styles to her figure, to her look that achieves not bear any resemblance to the flamenco genre. Something extremely difficult to achieve in flamenco dancing, as demonstrated once again in tangos, seguiriyas, soleares and bulerías. Four flamenco forms that she masters and expresses from the intensity to the beauty in a splendid manner, in a performance as masterful as vigorous that the audience fascinated by her devotion to them in body and soul – she danced “at lenght” as usually said – applauded with genuine enthusiasm.

EL MUNDO, 17/10/2005

It was reported that among the most positevely talked about events at the Ibero-American Summit that opened in Salamanca, was the performance offered by María Pagés, a flamenco star in Spain. The dancer aroused deep emotion among the authorities that had been invited to the opening ceremony, when she appeared on stage for a most unexpected performance: she danced flamenco, the most typical among Spanish dances, to the poems of various authors such as Miguel Hernández, Antonio Machado or José Saramago. The Portuguese Nobel Prize had actually recorded a reading of his poem on a visit to María’s house in Seville. The Portuguese President, Mr. Jorge Sampaio, expressed to Ms. Pagés his thanks for her choice of dancing to the original Portuguese version. But the most enthusiatic admirer of the Sevillan dancer was the King of Spain himself. Once her performance was over, Don Juan Carlos’s comment was that the Summit had reached its highest point and could then even be declared closed with success. Also Mr. Nestor Kitchner, President of Argentina, Mr. Ricardo Lagos, President of Chile, and Mr. Lula da Silva, President of Brasil expressed their deep emotion and declared that the trip to Salamanca would have been worth undertaking even if it had just been to attend Ms. Pagés’s performance.

EL PAIS, 18/10/2005

A bare scene, very simple but full of atmosphere, just made of light and a curtain of black gauze, which did not interfere with the voices, the music and the foot work that melted into the Atlantic breezes from the Americas. María Pagés’s flamenco, rich and beyond boundaries, expressed the spirit of the Summit that opened yesterday with a performance by the Spanish artist accompanied by seven of her musicians and ten dancers.

CANARIAS 7, 6/12/2005

... And those arms!.... for when she raises them the world stops spinning to watch her dance...

ABC, 12/10/2005
María Pagés...

... María Pagés is among the greatest innovators of contemporary flamenco. Her shows like “El perro andaluz”, “La Tirana”, “Flamenco Republic” or the latest “Canciones, antes de una guerra” are an accomplished proof of her heterodoxy, her bravery and her constant search for new forms of flamenco expressions...

LA OPINIÓN, 28/6/2005

María Pagés seduces with her flamenco beyond boundaries The coreographer has created a show that ranges masterfully from tradition to avantgarde. María Pagés scares off fear and dances to peace....

GRANADA HOY, 28/6/05

Her dance can laugh at anything without making fun of anybody, it can get rid in a single swirl of all the sadness in the world and invite hope to take a seat in the audience... Pagés and her company master a whole range of emotions on stage with great accuracy, as if they could trace lines with their feet and their expressive hands...

EL PAIS, 14/4/2005

...María Pagés danced. And she was a dancer in a state of grace, full of imagination, in a perfectly achieved coreography. In “Songs before a war” she tackles a whole range of different themes, from the copla española to John Lennon. And, of course, flamenco. And she all does it beutifully. Her company manages a perfect synchrony, rigourous and precise in every step. Ideas flow constantly, the rythm never drops and there isn´t a single pause...

EL PAIS, 8/4/2005

María Pagés is in complete control of the stage, she uses it and jumps around it with torero movements, against all established codes of flamenco, adding a new shade to her very personal and daring style, to her elegant and expressive movements, free almost to the point of anarchy, to her sense of music, all of these far beyond the tight space of the coded genre

EL PAIS, 18/10/2004
A dancer of great class.

... her long, sinuous arms enclose the secrets of first class dancing, while her vital zapateado breaks loose on stage with unprecedented elegance. Her tall and powerful figure seems wrapped in an imaginary corset of lust and distinction that allows her to perform with movements that are both measured and expressive. Pagés’s dancing is elegant and full-fledged, engaged with its time and age and yet truly flamenco, just cunningly introduced into the present....

EL PAIS, 30/9/2004
13th Bienal de Flamenco – A display of perfections

We saw the best of flamenco. María Pagés produced a most accomplished work, full of the best intentions, and all of them fulfilled, without a single weakness, without a pause...

13th Bienal de Flamenco – A display of perfections had to admire Ms. Pagés’s sinuous and almost serpentine arms, her quick feet and her juxtapositions of smooth and jaggedly staccato steps.

NEWSDAY, 28/02/04
A searing, stripped-down flamenco

Flamenco dancing, with its deep roots in proud tradition, has an innate rigor and purity, but María Pagés also makes it bracingly contemporary........ The first half of her company´s exhilarating two-hour program at the Joyce Theatre strips flamenco to its essence and applies a masterly sense of formal design..... Pagés seizes the stage for a fierce solo that seems to emerge, with wonderful spontaneity, from a deeply internal source.

NEW YORK TIMES, 24/2/2004
Fearless flamenco

The leading innovator of modern flamenco let’s her imagination soar in two powerful works.

EL MUNDO, 23/07/2003

María Pagés claims the joy of movement, she is a leader and a friend, and creates a reality from which nobody can unhook.

THE BOSTON GLOBE, 20/06/2003

Pagés flexes and undulates her remarkable arms like a tree in high wind.... Pagés, in her revolutionary fervor, has come back to the future: This is what authentic flamenco is meant to be.


María Pagés, whose elegant style and strength brought the audience to its feet.... Ms. Pagés created a multitude of emotions and characters. Her arms moved as if liquid and powerfully carved the space around her adding to the depth and expression of her dances.


Quand danser le flamenco peut aussi être drôle. Moderne et éclectique, le tout différait largement de l’idée que l’on se fait généralement du flamenco.

ABC, 26/01/2002

In the City Center... María Pagés with her prodigious company accelerated the heartbeat of the audience... she evoked all the possible rythms and tempos... and the audience gave in to her with joy and pleasure.


“Flamenco Republic” enjoys the coreography of Ms. Pagés and reflects her beguiling personality... her arms, her supple wrists, her nervous legs. The tale goes that the rythm of this strange dance is based on the heart beat...

LA RAZÓN, 26/8/2002

María Pagés is not just flamenco dancing. She’s the triumph of intelligence. ... She has an overwhelming concept of flamenco She can materialize it. She is definitely among the greatest.

EL PAÍS, 8/6/2002

María Pagés is not just flamenco dancing. She’s the triumph of intelligence. ... She has an overwhelming concept of flamenco She can materialize it. She is definitely among the greatest.

EL PAIS, 25/8/2002
All arts should have a Pagés.

María Pagés imagines and creates a space where dancing and its consequences engage with ideology: flamenco as a vital aim