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NEW YORK BUZZ - by La Gata...

(part of www.flamencobuzz.com)




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A Message from Martin Santangelo & NOCHE FLAMENCA...



Estimados Amigos,

Thank you to everyone who joined us at The Lucille Lortel Theatre! Noche Flamenca had an amazing
four-week run and we were delighted to share each night with everyone that came to support us.
We would like to share some of the articles, reviews and photos of the company with you that were
featured in The New York Times, please see the links below.

Read NYT ARTICLE here:

Read NYT REVIEW here:

Read the ALASTAIR MACAULAY’S “best of decade” article here:

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HERE IT IS!!!



The folks at WMI have put together one of the most intense and beautiful flamenco festivals to date... Get all the details HERE!

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Flamenco New York with the collaboration of the Flamenco Festival USA,
Institut Ramon Llull, and PRK Percussions Proudly Presents...

"ARTE y COMPAS"

Flamenco Foto Exhibition by ANA PALMA ~ Brilliant and Talented Catalan Photographer from Barcelona



Awarded 1st prize for her Black & White images by the Dept. of Flamencology in Jerez, Spain (‘09) Ms. Palma brings us her flamenco images.
Driven by the emotion that guides her finger to trigger at the precise mome... not in search of the perfect picture but to capture and
immortalize the essence, the soul of that moment.

Her mastery is depicted in a series of wonderfully unique and memorably emotive shots of some of thee most greatest flamenco artists.
These are images that portray an expression, a feeling... an art form. Lived inwards as outwards, felt on the surface of your skin, in the heart,
in the mind... an art form that exceeds the rational so as to get inside the deepest places of your emotions…

A Presentation of Flamenco Via the Visual Arts that will No Doubt Provoke Emotions So SAVE THE DATE - Thursday - February 18, 2010 - 8:00 pm

WHERE: GALLERYBAR - 120 Orchard Street between Rivington & Delancey - Logon to www.gallerybarnyc.com

JOIN US FOR A STARFILLED EVENING.....MEET THE ARTIST, HAVE A COCKTAIL, SEE ART AND JOIN IN THE JUERGA!


A Rare Performance by One of NY's Finest Imports...

The Bailaor "OSCAR VALERO", percussionist JOSE "EL CHINO",guitarist "CRISTIAN PUIG", el cante of "ALFONSO CID" & Guest Artists from the Festival!

Olé!

Logon to: myspace.com/flamenconewyork

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La China returns to New York!

This time she is teaching during the Flamenco Festival, so take advantage and get your flamenco ON with the maestra de maestros!

La China has been a flamenco performer since her arrival in Madrid as a young flamenco artist from her native Argentina. She danced in all of the “tablaos” in Madrid: Los Canasteros, Las Bujas and Torres Bermejas and has toured the globe many times over. Since 1997, she has dedicated herself to teaching flamenco to students worldwide. Currently you can see former students of La China on major stages all over the world, including dancers performing this year in the Flamenco Festival: Manuel Linan, Belen Lopez, and Rocio Molina.

La China lives for flamenco. She gives her students the tools to dance correctly, honestly, and with dignity. In her class students learn true flamenco carriage, finding their center, flamenco turns, “tocar las palmas.” She places special emphasis on her students achieving good technique, especially in footwork since in Spain today, dancers have very advanced technique. She reminds students of what Adrian Galia said years ago:

"Flamenco is universal and anyone who knows its roots can learn to dance."







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For more information: Logon HERE!

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Flamenco Clothing for you!



Logon to: LIVING FLAMENCO for fabulous flamenco clothing!
Flamenco dancer and designer Laura Dueñas, in
partnership with Riatitá from Brazil, is offering us
here in USA these flattering and dramatic pieces.
They are going to be the season’s must-haves!


EDITOR'S NOTE: I have my very own skirt from Laura's
line, and it is FABULOUS!!! It fits like a dream,
feels really soft and silky, and has a fluid movement
when walking or dancing. Definitely check this amazing
line of beautiful solid colors and prints (like Lunares and
Floral patterns) out!

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ONGOING FLAMENCO CLASSES WITH SOL

Where: Eastern Athletic Clubs Tribeca
Thursdays (Starting Thursday, Jan 7, 2010)
5:00-6:00pm Absolute beginner level Technique
6:00-7:00pm Intermediate/ Advanced level Repertoire

Saturdays ( Starting Saturday, January 2, 2010)
2:00-3:00pm Intermediate/Advanced level Technique
3:00-4:00pm Intermediate/ Advanced level Repertoire

SOLEA POR BULERIA WORKSHOP (int. / adv. level)
Where: Lotus Music & Dance
Jan. 4 - Feb 22
Mondays ~ Starting Monday, January 4, 2010
6:00-7:30pm

FLAMENCO CLASSES FOR CHILDREN! (Aged 2-12)
Where: Lotus Music & Dance
Mondays 4:00 - 5:00pm
Ongoing. Starts Jan 18,2010

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REVIEW OF "FADOS"



Read it here!

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∞ ∞ ∞ NEW YORK ROCKS WITH FLAMENCO ∞ ∞ ∞



FAVELA CUBANA - Every Monday Night
3 sets (8:30/9:30/10:30pm) NO COVER!


FAVELA CUBANA
543 La Guardia Place (btn W. 3rd St & Bleecker)
Greenwich Village, Manhattan
New York, NY 10012
RSVP: 212 777 6500

Sangria Special! $4/glass $20/pitcher...Paella Special! $20 paella dinner with one glass of sangria

BÁRBARA MARTÍNEZ, voice/dance
PEDRO CORTÉS, flamenco guitar
GONZALO GRAU, percussion (July 20 & Aug 17)
OSCAR VALERO, percussion (July 27, Aug 3 & 10)
JOSÉ MORENO, percussion (Aug 24 & on)

~ ~ ~ ~ ~

Flamenco Tablao @ DON PEDRO - Every Wednesday Night
3 sets (7:30/8:30/9:30pm) NO COVER!

DON PEDRO
96th Street & 2nd Ave
Upper East Side, NYC
RSVP: 212 996 3274

~ ~ ~ ~ ~

Flamenco Tablao @ CRUDO - Every Thursday Night
3 sets (8/9/10pm) NO COVER!

CRUDO
235 West 35th Street (btn 7th/8th)
Midtown Manhattan, NYC
RSVP: 212 967 7500

~ ~ ~ ~ ~

Flamenco Tablao @ HAVANA ROOM - Every Friday Night
3 sets (8/9/10pm) NO COVER!

HAVANA ROOM
The Radisson Lexington Hotel
134 E. 48th St (btn Lex & 3rd)
Midtown Manhattan, NYC
RSVP: (212) 421-4288

Now get out there and FLAMENCO UP!!!
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Review of Joaquin Cortés “CALÉ

North American Debut Thursday May 14, 2009
The Beacon Theater, 2124 Broadway at 74th Street NY, NY 10023

Joaquin Cortés, Principal Dancer and Artistic Director

Company Dancers:
Ana Agraz , Alexia Ambite, Raquel Caurín, Paloma Colmena, Mónica Gómez, Raquel Durán, Mónica Iglesias, Isabel Ramírez’ Cristina San Gregorio, Montserrat Selma

Voices:
Genara Cortés, Saray Muñoz, Chelo Pantoja, Antonio Carbonell, Manuel Doya “Zambullo”, David Maldonado “David de Motril”

Guitarists:
José Carbonell “Montoyita”, Jose Antonio Camacho “Piripi”

Other Musicians: Cello - Hillary Fielding, Violin - Alberto Loranca Serra, Bass & Double Bass - Arián Suárez, Saxophone - Ariel Bringuez, Trumpet - Fernando Hurtado, Percussion - Vicente Suero “Morito”, Rafael Serrano “Agapula”, and Luis Amador

Choreography and Direction Joaquín Cortés

Music by Antonio Carbonell, José Carbonell “Montoyita”, Joaquín Cortés

JOAQUIN CORTÉS IS A ROCK STAR. It’s more than a cliché, folks. Read on.

The newly refurbished landmark Beacon Theatre was turned into a rock arena that Thursday night. The very atmosphere was charged and the pre-show excitement was a heady fragrance. Everyone was talking non-stop about the show they were about to see. The crowd, some dressed to-the-nines, was a little rowdy, a few people pushing and shoving to get to their seats. There were bare-breasted women writhing and dancing on the floor (more on that later). When Joaquin ran from the stage into the aisles in the middle of the show, the crowd just about lost all decorum.

This man has a huge following among the female sector of the species. I sat in front of a middle-aged woman who, with her husband in tow, shouted “Take off your shirt!” at Joaquin random times throughout the show. She wasn’t the only one. This was not your usual flamenco crowd.

The last time Joaquin Cortés was scheduled to perform in New York City was back in December 2006, and the show had to cancel due to the untimely illness of his beloved mother, Basilia. Joaquin, who is now 40 years old, is back and is better than ever. I have often commented on this page that I consider older dancers the more interesting to watch. The older Joaquin is even more alluring, with that white gash of a smile framing tawny-colored high cheekbones.

Calé is the proper name for the Roma people of the Iberian Peninsula, commonly known as Gitanos. I pay particular attention to anything marked “gypsy”, always looking behind the intended usage of the word – is it to honor tradition or simply as a marketing tool? The word “gypsy” as used in the arts is often synonymous with “passionate” or “exciting”. Some individuals tend to romanticize us as a people. This is an unfair representation which tends to trivialize the Roma people of Spain, and more specifically, as it pertains to flamenco.

In this production, you saw the “gitanismo” in the way the bailaoras bent their elbows forming a “v” above their heads, and in the way they moved their hips during the tangos. Classically trained Spanish dancers were grinding their hips in the manner of a proper lady getting just a little bit dirty.

The fusion of the music that night combined elements of flamenco, jazz, rock, Afro-Caribbean and North-African rhythms which are all typical of a Joaquin Cortés improvisation-heavy production. Also typical is the avant-garde choreography. There was a “sea” theme running in two of the choreographies – in one version the dancers wore long white flowing shifts. As they rolled to and fro on the floor they reminded one of waves crashing then flowing back into the sea. In the other version, the dancers were bare-breasted save for voluminous skirts which they kicked around, resembling mermaids. They alternated from sitting up and doing braceo to lying back down on the floor and writhing. The lighting sought to be flattering and was not successful. Mr. Cortes perhaps did not realize that this subject matter was not appropriate for young children, as there were quite a few of them in the audience.

The best part of the whole evening was when Joaquin simply let the music play. He would stop dancing, swaying rhythmically back and forth, a look of sheer bliss crossing his face as he closed his eyes and a slow, sweet smile would come upon his face. Then, he would start to dance, accenting the syncopated rhythms with equally syncopated footwork, especially in the bulerias portions. He introduced the audience to his particular brand of “aire” which was so warm and inviting.

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REVIEW: Savion Glover - A SoLo in TiME - @ The Joyce Theatre
(Second half of show review only)


With La Conja – Canté

And the SaiNTz:
Arturo Martinez – Guitar
Andy McCloud – Bass
Carmen Estevez – Cajón
Marshall Davis Jr. & Cartier Williams - Tap Dance

The second half started off with Savion Glover on stage in a “warm-up” and led to La Conja walking out singing a “Quillo” that traditional canté jondo lament in which the singer expends their soul through their mouths. La Conja carried this off with clear confidence, her voice inspiring Mr. Glover to improvise tap steps within and out of the compás. Her next step was to punctuate an alegrías with heel and palmas, as the Genius of tap complemented the number with his deft movements.

La Conja premiered an original composition called “Tiempo”, a tender ballad punctuated with flamenco heat. The show was staged on 3 tablaos, in which Savion and La Conja moved about. The chemistry between the two was pure electricity. Check out what La Conja is up to on here website: www.laconja.com

Next came “A Stack of Magazines”, a combo of singing acapella and tap with Marshall Davis Jr. and Cartier Williams with Mr. Glover. Entertaining and fun it elicited giggles and enthusiastic applause from the audience.

Then, Arturo Martinez and Carmen Estevez took the stage with “The Guitar”, an homage to the flamenco guitar. Mr. Martinez was able to keep up with Mr. Glover and once again, Savion’s amazing interpretation of the notes channeled from his ears directly to his feet. The number “Spain” followed, with an even more intense presentation of la vida flamenca, in which Ms. Estevez’ command of the Cajón kept pace with Savion’s rapid-fire footwork. You can check out more about Arturo Martinez on YouTube.

It’s interesting to note that he basically transmits the melody with his taps, not just the rhythm. The show is replete with original tap compositions by Savion Glover and improvography by tap maestros Gregory Hines & Jimmy Slyde. “Starz & Stripes for the SaiNTz” finished as the fin de la Fiesta, with La Conja also re-appearing, and throwing in a few flamenco moves of her own. The balance was spot on and everyone was terrific.

Hopefully this all-too-short run in NY will be succeeded with a tour, as many many flamenco and tap fans will relish the showmanship and skill of all involved. To quote from the programme:

“Savion Glover’s SoLo in TiME is a continuation of the HooFeRzCLuB tradition at attributing music through tap dancing’s percussiveness; using tap as sound, and sound as dance. Accompanied by his newest dance band Bare Soundz, live flamenco vibes, and his own acclaimed Hooferz style, Mr. Glover and company attributes the percussive medley of Flamenco through the relationship between Flamenco music and tap dancing as song. SoLo in TiME embraces yet another dance lineage exploring a montage of sounds through the intricate time passages of tap dance composition and the many ancestral forms of Flamenco.”

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LA GATA REVIEWS:

CHICANA GYPSY PROJECT FROM SPAIN US DEBUT @ DROM
January, 2009

Maria Bermudez, Lead Vocals/Dancer
Jesus Alvarez, Guitarist
Pele de Los Reyes, Singer/Palmas
Juan “Cantarote”, Singer/Palmas
Bernardo Parilla, Gypsy Violin
Tato Macias, Drums
Lolo Bernal, Electric Guitar
Sandro Fornasari, Acoustic Bass

The Chicana Gypsy Project “sound” is one that is beyond the definitions commonly used to describe combined musical expressions i.e., fusion and hybrid. It is a chimera. In the study of genetics, a chimera is an organism composed of two or more genetically distinct tissues. In this performance, many musical entities mingled seamlessly, ultimately producing one organic sound.

They begun the set with the cantaores singing a traditional Solea, and as my ear settled comfortably into the voices of Pele de Los Reyes (of Navajita Plateá), and Juan “Cantarote”, Maria begun to dance, the atmosphere distinctly flamenco. I dutifully begin writing my comments, eyes focused down towards my trusty notebook, when Maria Bermudez’ voice jarred me to attention. The audience (and I) were then translated to an alternate universe, as in “We’re not in Jerez anymore, Toto”. She peeled into the first long wail of “Summertime” mid-tempo, and the rest of the band followed in kind. Throughout the whole show there were blues riffs from the electric guitar and upright bass, flamenco guitar strumming with a swing-chuck feel, brush rolls and muted tom-tom from the drummer, and a saucy gypsy violin swinging right along with them.

When they played flamenco they were very, very good, and when they played jazz they were even better. I’ll explain: when it came to resume the Solea, the falsetas and palmas returned, Maria danced. When Maria switched genres, all of them morphed into a jazz-joint house band. Ms. Bermudez is a first-rate chanteuse, well-worn treads on her soulful chops. She could have done the whole show in jazz/soul standards and it would have been fine.

There were song combinations that not even in my wildest dreams would I ever think to see them performed on the same stage, as they originate from different continents. However, they made complete and total sense. Tangos turned into a funky version of Van Morrison’s “Moondance”. “Me acordare de Ti”, a Ranchera, turned into an Alegrias. Let me add that Maria Bermudez unveiled yet another vocal layer here – it is not easy to belt out those Rancheras, a genre with its own discipline. Pele de Los Reyes, the musical director and Ms Bermudez’ husband, brilliantly constructed this performance’s anthology of music, along with authentic instrumentation and Latin/Funk influences. It was such a rich tapestry that it is hard for me to sum up in words what their brand of sound is in this article. You need to experience it for yourself.

Pele de Los Reyes is the frontman of Navajita Platea, a group which is a world unto itself. They are historically vanguard artists of flamenco/pop/funk laced with caribbean rhythms. Think of cantes de ida y vuelta, literally meaning round-trip songs. In my opinion, their sound is the Spanish twin of the Chicana Gypsy Project. It is clear that there is an affinity here for all music that has to do with the human condition. We all understand pain, betrayal, frustration, prejudice. What it took to produce jazz, be-bop, blues, etc., specifically the Afro-American experience, came at a dear price. Where oppression exists, music serves as an outlet to preserve the voice of a people and their collective soul. It is the same with Roma (Gypsy) music. Wherever the Roma traveled, they adapted the music of their respective regions and made it their own. Intense emotions are stamped onto the very DNA of the notes.

As a New Yorker, I admit that I am ignorant of the Mexican-American experience as a whole. Without getting too political, “Chicano” and “Gypsy” are loaded terms with their own ramifications. I’ll leave it at that. Now, Maria Bermudez explained that Chicano slang and the Kaló language (Spanish Roma language) have much in common. Both are the language of the people, and it points to earlier Spanish Roma migration to Mexico. Subsequently, Roma words leached into the Mexican lexicon and there you have it, many Chicano words are laced with Kaló. The world doesn’t seem so big now, does it?

I seriously hope the Chicana Gypsy Project makes its way back into the United States. It is well suited for the ears of a nation that celebrates diversity.

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LA GATA REVIEWS:

Manuel de Falla’s La Vida Breve, with the New York Philharmonic
Avery Fisher Hall at Lincoln Center, NY, NY
October 16, 2008



Read the review here!

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Review of La Sobremesa
The Players Theater, 115 MacDougal Street, NYC

Omayra Amaya, Lead Dancer, Artistic Director
Roberto Castellar, Guitar, Music Composition
Edwin Aparicio, Dancer
Laura Manzella, Dancer
Laura Castellano, Dancer
Jose Moreno, Dancer/Percussion
Rubén el Viejo, Singer
Jesus Reina, Violin

There is a distinctive flavor to an Omayra Amayra production. From the beginning chord to the final bows, there exists an intelligence, excellence, and clarity where not one single note or step is out of place. I quote from the program “A sobremesa refers to a post-dinner hour when Spaniards like to linger at the table to talk, drink coffee and be together with family and friends”. Sobremesa is a fluid conversation around that table where everyone was afforded the opportunity to speak their mind and the audience was within earshot to hear the intrigues, flirtations, and the drama between them.

The scene opens a into vignette of a typical gathering in Spain, everyone in comfortable dress, dancers posing as if the lens caught them in the middle of a conversation. Omayra and Jose Moreno held a newspaper between them. From these poses, my eyes began to dart from person to person, my mind already anticipating the stories they were about to tell. Throughout this production, each dancer breaks away from the table and begins their discourse, at times alone, at times dialoguing with the others.

Bulerias, danced by the whole Company, was the perfect palo to open with, the rapid-fire pace reminding me of the way in which Spaniards speak, demonstratively and without losing a beat. Laura Castellano danced in next with a Tangos in the manner of a young woman who has discovered and now owns her burgeoning sensuality. There were nuances in her hips that spoke perhaps of a new love interest, betraying her demure demeanor. The other dancers celebrated along with her.

Jose Moreno carries a weighty, powerful presence that expanded and filled the theatre. In the Solea por Buleria, he paced and treaded heavily, like a bull in its most dangerous expression before charging. I noticed how he wrestled with his thoughts, his taconeos a contratiempo serving as exclamation points. Laura Manzella heightened the electricity that night with an insolent and saucy Alegrias, caring little what people thought, demanding that she be heard. For me, her dancing is a ¡grito! (shout), her eyes shooting daggers at the audience. Laura and Jose crossed paths (literally) in the Fandangos that followed. The audience really got into their characters. Laura’s flirtatious and bawdy bravado contrasted nicely with Jose’s slightly bemused expression as she offered herself to him. He wasn’t expecting her, but the inevitable chemistry between them ignited. Jose at one point turned to the audience and lifted one eyebrow, accompanied by a sardonic smile. This act caused laughter to ripple throughout the audience.

The tone of the night began to settle into a deeper plane, slowing the pace for the seriousness of the Seguiriyas, danced by Edwin Aparicio. His was a dance of painful dignity, fluid lines and powerful phrasing. What I admire most about Edwin is his ability to pull you into his character. You can sense he’s sculpting a frame around the letras, and does it with much finesse.

In Omayra’s Solea, the very air was soaked with a concentrated essence of something rarely seen in flamenco: duende. It is not something than can be studied and obtained, either it’s there or it’s not. An artist must pay a heavy price to expose everything within them, and that’s precisely what Omayra did. She released all that was in her heart, unfolding each exquisite braceo and precision sonikete, but ultimately her face is what does you in. I have had the privilege of seeing Omayra dance other shows, and this time she took me by complete surprise. I later found out that I was not the only one in the audience that was brought to tears. Watching her caused something to break within me. We all held our breath and realized collectively that what we witnessed is a rare and precious gift. Flamenco is an art best seen bare-boned, without fanfare, so as to get the feel of each artist.

I cannot emphasize strongly enough that it was Roberto Castellon’s score that served as the backbone of Sobremesa. Yes, there is prodigious fingering, rhythmic prowess and his melodies are increasingly brilliant and clear. The music held everything together as if in an embrace. Ruben el Viejo is the possessor of a voice that haunts you, vocal runs that skip across the air, a quality that pierces you. This young man will have a long career. If you’re a fan of Moroccan music, as I am, you can understand the sound of Jesus Reina and the tuning of his violin. There is a distinct breathy and mournful quality to his sound, think of a desert wind as it moans through the rocks and over the dunes. It is a voice that has tasted strong drink, raspy at unexpected moments, sweetly fluid and joyful at others. What else is there to say? It is this: I hope I get invited back to a place in time called Sobremesa.

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Review of Rafael Amargo Dance Company
TIEMPO MUERTO
September 20, 2008 8:00 pm - Town Hall, NYC

To quote Rafael Amargo’s definition of the idea behind his latest production, Tiempo Muerto, “…it is a parenthesis, a looking back at the past, a look so that I will continue further in my flamenco world. It means the missing beats (in between notes), the beats of silence, and beats of the heart, whatever marks the rhythm”. When flamenco as a musical genre is mentioned, one’s imagination immediately goes to a dancer’s furious feet or a singer belting out letras, forgetting that the silences in between breaths are just as impacting. When a performer stops for that breath, the mind instantly takes a photograph and breathes along with them.

A brilliant score by Musical Director Juan Parrilla set the mood that night with contemporary music respecting traditional flamenco melodies. This work is furthered by instruments that are not normally found in flamenco i.e., electric bass, drum/percussive set, cello, and flute. Sr. Parrilla’s style of flute playing is percussive and otherworldly; it left me with the impression that had he been the Pied Piper, I would have gladly followed him anywhere.

Rafael Amargo started the show with a super-fast paced Bulerías wearing what resembled jodhpurs, the voices of singers Maite Maya and Carmina Cortes clashing in the air. The stage was dark save for an overhead spotlight reflecting the angles of his face, the shaded parts of it a co-protagonist. Mr. Amargo is a consummate showman, with acrobatic dexterity, eclectic choreography, and theatricality that drags the audience by its ears compelling them to come along. We were all eager participants. The female dancers Eli Ayala, Carmen Iglesias, Rosa Jimenez and Susi Parra were all powerful in their expression, each with differing intensities of delicacy and strength. Many companies exact uniformity in their dancers. This was not the case here. Although all were doing the same choreography, each displayed a personal touch – the flick of a wrist, the lifting and rounding of a shoulder, the jack-hammer intensity of a heel tremolo.

The costuming was not the traditional lunares and ruffles but fluid jersey-like material, contouring that did not distract the eye from the dancer’s lines. At one point, in a heavenly white bata de cola, Carmen Iglesias danced a refreshing Alegrias. In the Silencio portion, Ms. Iglesias’s arms disseminated the heaviness of the tempo with unhurried arms and lunges. The choreography of the night reflected elegant modern dance elements incorporated with grounded and earthy movements.

I often watch the faces of the musicians as they perform. I am seeking an insight into what they are feeling, their reactions. Where is it taking them? If a guitarist closes his eyes and holds the guitar in an embrace, he has transcended to a place where the only language spoken are musical notes. The guitar playing of Eduardo Cortés and José Andrés Cortés provided a delicious smokiness that supported the powerful voices of the cantaoras. Rafael Amargo’s production of Tiempo Muerto was truly an exhilarating journey into the mind of a flamenco maverick.

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Review of Paco Peña Flamenco Dance Company, ¡A Compás!

Friday, March 30, 2007, 8:00 pm

The Town Hall, NY, NY

(Reviewed by Damaris "La Gata" Solis with Mari Katsigianis)

Featuring:
Dancers: Ángel Muñoz, Charo Espino, Ramón Martinez
Guitarists: Paco Peña, Paco Arriaga, Rafael Montilla
Singers: Miguel Ortega, Inmaculada Rivero
Percusión: Nacho Lopez

What comes to mind when you think of the word “tradition”? I always picture barrel-chested Tevye, who proudly proclaimed to the skies in Fiddler on the Roof, “TRADITION!!!.” There was most definitely a beautiful display of flamenco tradition on stage that night. World-Class Master Flamenco Guitarist Paco Peña started off with an elegant Petenera, one of many palos which he performed that are not part of the usual theatre fare.

At another instance in the show, guitarists Paco Arriaga & Rafael Montilla’s skillful fingering complemented his playing, each adapting harmonies-- one higher, one lower, all melting into the sound of one guitar. There is a statesman-like quality to Sr. Peña’s playing, clothed in his humble willingness to be the guitar that accompanied the other members of the company as they danced. I could not believe how much stage time he allotted to all his performers, this was a TROUPE in the very noblest sense of the word. Paco has enough confidence in the quality of his own person “product” that he understands that audiences will evaluate his mastery without the need to “hog” the stage as others have in the past. Each and every number had a connection to the one before it, and highlighted the skills of the dancers, guitarists and singers in a truly even-handed way.

Now for my favorite part of the show – sorry but I am rather prejudiced when it comes to Ángel Muñoz & Charo Espino, who are husband and wife. They executed an achingly exquisite Flamenco “pas de deux”, to the point that I felt as if I was peeking into an intimate moment between lovers. You could tell this was much more than a working gig for this pair – it was an expression of their deep love and regard for one another as dancers and as life partners. Angel’s hands caressed the air around the curves of Charo’s body, an unseen string connected his hands to her hips, her deep backbend and outstretched arms signaling her submission. Separately, they are masterful performers. Together, they produce an intense, slow burn that FEW contemporary performers either seek to perform or if attempting to perform, can achieve...

(Angel was principal dancer for many years with Compañía María Pages, and while touring with her, he only got to dance a fraction of the kind of rare and traditonal flamenco seen this night. I was absolutely sucker-punched by his amazing grace, strength, and control!) Charo Espina is highly regarded throughout Spain and has joined in performing with Angel’s company in the past.

In fact I can’t remember the last time I have seen a pair dance so exquisitely – these days it’s about solo performances or huge stage gatherings, but the simple “man/woman” thing gets short shrift in modern flamenco productions. Kudos to Sr. Peña’s keen understanding that most American theatre-goers are STARVING for the real deal which he has so graciously provided in this particular production!

New to me, Ramón Martinez’ danced an Alegrías that breathed the heady fragrance of love into the air that lingered momentarily. It’s bright and sunny joyfulness conveyed the promise of young manhood - - - bravado-fueled leaps and hair-tossing turns marked it’s sentiment. I appreciated his sense of playfulness, the audience responding in kind. Like Antonio el Pipa, he smiled and emoted freely (with no regard for any external judgment.) Unlike Sr. el Pipa, his emotion served as accent to the dance and not as a full-fledged character in the story… Isn’t it wonderful how music and movement is a language spoken worldwide and needs no translation? This dancer is a tremendous talent and another hidden jewel of the male flamenco dance community. After a mind-numbing selection in Jerez, it was so refreshing to see Ramón Martinez blow the audience away with his style.

The style of the Farruca danced by Angel Muñoz is by definition seminal to the question plaguing many dancers; how to marry the balletic training with the earthy feel of flamenco without seeming stiff and/or contrived. He is the very characterization of how to portray classical form with a distinctively masculine grace. The Farruca is where your technique is laid bare for the entire world to see – the lunges, the turns, the compás. It is astonishing to see how much his feet, arms, even hair are an extension of his thoughts. That is true, unadulterated talent wrapped up in one of the finest performers on the world stage today. This man deserves his own show New York – uhh - New York… are you LISTENING???

In one of the many gorgeously-staged numbers, Sr. Peña and Sra. Espino sat face to face, he with guitar, she, armed with castanets. They conversed, his tone was thoughtful one, she answered sharply and distinctly, the castanets an extension of her arms (again with extensions… must run in the family!) In the end, she acquiesced and they both agreed. There is a seamless co-existence between Paco Peña and his artists, no matter what was being performed; you instinctively knew they completely understood each other. Flawless.

Charo Espino is a sketch artists’ dream. Imagine if you will a blank page where you are asked to define a moving object in not more than six strokes of your pencil. If you use the plumb line of Charo’s back, you can clearly illustrate how a female dancer is supposed to move.

Singers Miguel Ortega & Inmaculada Rivero are two well-matched voices. It is not an easy feat to have different voices blend well, this is a testament to Paco Peña’s ear. Where Mr. Ortega’s voice was powerful in volume and expression, Srta. Rivero’s quiet intensity was demonstrated in the amount of the control it took to transmit jondo lament. It was the contrast of explosion versus implosion. Both forces can bring down the foundation of a building.

Towards the end of the show, something only heard on recordings, yet there it was, live on stage! The guitarists turned into blacksmiths, pounding a Minera compás on ANVILS in the style of “La Fragua”, no less! Neurons [those little electrical impulses in your brain] were firing throughout the entire theatre, especially within the head of yours truly. There’s more – the rest of the men were rapping their knuckles on a table, and the two women in the company were doing palmas. In fact Charo was doing palmas AND dancing while sitting down. (Try that sometime, I dare you all!) They coursed through different palos, as if to say, compás is found anywhere and in anything you do, it is as close to you as the air you breathe. It is the heartbeat of flamenco.

This show with it’s simply designed costumes, bare stage, and minimal use of lighting left me gasping for more – they even had an intermission can you believe it? The 8:00 pm show let out sometime before 11:00 pm and yet still left the audience gasping for more. I was totally enraptured for the ENTIRE show, no wandering of mind, no fidgeting, just pure devotion the elegant offering that was ¡A Compás!

(Editor’s Note: The Company tours North America – check on Page one of www.flamencobuzz.com for the cities listed and to see which production – “¡A Compás!” or “Requiem” is coming to your town!)