Press
EL PAÍS: Maturity, register and whispers
Rocío Molina has an innate gift for the most indigenous dancing and for a well-assimilated technique. (…) Rocio has refined her phrasing and breathing, her turns are poetic and her breath always has something to say. La Tremendita`s enveloping and penetrating voice and her natural rhythm encourage an intimate atmosphere. They both share some sensory and plastic mutual understanding.
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THE TELEGRAPH: Rocio Molina, at Sadler’s Wells, review
The 28-year-old star embraces contradictions. The slo-mo stateliness of arms and torso seem divorced from the impatient rattle of her heels, and her mood can switch from mischief to murder in the space of a phrase. (…) Microphones are the bane of modern flamenco, but Molina’s final number exploits the technology to create an eerie soundscape of echoes, as if she were sharing the stage with the ghosts of all the dancers whose art she has absorbed – and reinvented.
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THE NEW YORK TIMES: A Passionate Tradition Is Made Livelier Through Irreverence
Ms. Molina is so full of contradictory highlights that I don’t know where to start or stop. Every part of her body dances, often within the same phrase, as if in ricochets and crosscurrents, and she amalgamates melting softness with academic rigor, so that her most startlingly experimental moves look classical. Frequently she moves limbs and torso so as to oppose sharp angles with curved lines. Like a number of flamenco dancers over the years, she seems to be interested in the contractions and tensions of old-style modern dance, which she makes mint-fresh.
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THE NEW YORK TIMES: Leading the Audience Into Flamenco’s Heart
Ms. Molina is one of the greatest flamenco dancers I have seen, but to say that is not enough. There are many I have missed; and anyway arguments always abound (they certainly did this year at the Flamenco Festival in New York) about which flamenco artists are its foremost or finest exponents. Her Soleá at once seems to lead an audience into the heart of flamenco at its purest and extend it by making it new.
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ABC: Baryshnikov, knelt before Rocío Molina
When the curtain falls, with a shower of sand falling over Rocío Molina’s tiny figure, the ovations and bravos in the New York City Center were both long lasting and enfolding. But for sure, nothing was more thrilling for the dancer than the moment when, at her dressing room door, Mikhail Baryshnikov – one of the great living legends of dance – went down on his knees before her. Rocío Molina, embarrassed and surprised, quickly tried to raise him to his feet. Baryshnikov’s gesture perfectly symbolizes how the New York public receives Flamenco.
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EL MUNDO: Rocío Molina, oro viejo
Rocío Molina (Málaga, 1984), a disciple of Maria Pagés, melted the invocation of snow in a snowbound city. She raised the audience from their seats. Her show ‘Oro Viejo’ is a prayer in the disguise of pleasantry and Flamenco, a reflection on the clock and it’s teasing. “The most important dancer to come out of Málaga in decades, if not a century”, as Juan Verguillos says. She reinvents Cante Jondo, the emotional Flamenco song and puts it in the 21st century, combining it with modern ochre’s , geometric movements, choral ringlets and popular song.
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DIARIO SUR: Rocío Molina conquers the Big Apple
Rocío Molina, who presented her “Oro Viejo” show, within the Flamenco Festival that is currently underway in the Big Apple, is today one of the outstanding examples of a young generation of female dancers that are writing the future of Flamenco dance in a woman’s name.
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BALLET MAGAZINE: Flamenco Festival, London 09, Overall Review
In her own company, the production Oro Viejo was one of the most tremendous expressions of contemporary flamenco that I’ve ever had the good fortune to see. This is an evolved form of flamenco, completely true to its origins. Expressive, confident and exuberant it’s a tribute to Rocio’s talent and an exciting indicator of the adventures she’ll be leading us through in years to come.
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DEFLAMENCO.COM: Stripping down to basics as easily as breathing
When grand conceptual pretensions are put aside, be they of others or one’s own, she does her best work; when she digs into her most intimate self, the smallest details. Rocío is growing right before our eyes. She is becoming a woman right on stage. The first time I saw her in the La Unión contest in 2003, she was barely an adolescent. At that time I gladly welcomed her intrusion into the flamenco panorama, and suffered the blindness of the contest’s jury who didn’t even let her pass to the finals. This summer Rocío Molina returned to La Unión as a major star. The lovely contradictions of flamenco.
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