Bruno Tombari and Mariangeles Caamaño dance Invierno

This is a guest post by Christina Choong.

Having been a recent convert of Game of Thrones and subsequently facing one of the most heartwrenching  episodes of primetime TV in recent times, I found it highly ironic (and apt) that while sitting at my weekly practica, this song came on. Invierno (Winter)-yet another way Tango geniusly encapsulates emotions through its lyrics, it's music and it's movement (in the right hands).

Not surprisingly, this song yet again shows the contrast that Tango music likes to play with, in this case, yet another deceptively happy melody with a strong walking beat, and some of the saddest lyrics ever.

Drawing attention to this delightfully rhythmic performance by Bruno Tombari y Mariángeles Caamaño, I'd like to point out here that I'm hearing two distinct phrases of music that just BEG to be danced to.

A) The heavy syncopated chord arrangement of the piano right at the start, contrasted with the strings playing the main melody; immediately after,

B) The oft blaring (viola?) pulsing out a long drawn out note (later replaced with the voice) and the violins echoing the last two notes of the phrase as decorative accents

Bruno and Mariángeles hit 1) with a quick side step-paused step on the main beat, allowing the melody to trickle past, before catching up with an on-the-beat walk-walk-walk perfectly in time for the start of B) at 0:34. Mariángeles keeps the pivot flow, this time picking up the violin echoes as her music base (minute 0:48) as Bruno walks around her, before deftly switching and utilizing the alto beat to move forward.

This switching between the strong rhythm, main melody line and echo melody that are all distinctive in this song is what makes this performance exceptionally delightful. The meat of it which really caught my attention comes around 1:52, where A) is repeated again, this time with a move that I like to call 'the lag'. Call it what you will, but these two really manage to embody the 'one body 4 legs' concept of the dance, where this time the main beat is caught alternatively by Bruno, and then Mariángeles. Phew, not an easy move, but distinctly recognized as a signature stamp of these two, requiring precision, balance and an almost mind-reading ability between partners.

Voice comes in, and where Bruno initiates a giro with circular embellishments (2:12), we see how each circle is perfectly timed to be fully completed at the end of each beat. This rhythmic play comes in again at (2:30) with his tippety-tip-tip movements while Mariángeles continues on her languid back steps.

The rock-steps at (3:16) act almost like a personification of the fingers on the keyboard running down the length of the keys before a relaxed finish on a VERY fluid dance.

In all, beautiful, playful and a masterclass in rhythm play.