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JUST ANNOUNCED!

Juanito Pascual in Concert October 9, 2010 at the Somerville Theatre

Showtime: 8:00 pm

Juanito Pascual announces a series of fall concerts celebrating his collaboration with Junglewood - a groundbreaking initiative using arts and
music to raise environmental consciousness while helping to restore one of the most biodiverse places on the planet located in the Panamanian Rain Forest.

This evening will feature a tremendous international line-up of new and familiar faces including Flamenco Dancer Jose Moreno, Stan Strickland (Flute, Sax, vocals),
Rohan Gregory (Violin), Sergio Martinez (Percussion), Tal Gamlieli (Bass) and Seiki Tamura (guitar). There will also be a special guest or two as well!

Order tickets HERE

Check out the You Tube Video HERE

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NINO DE LOS REYES WORKSHOP!



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Fall 2010 Dance Class Schedule with Eve Agush: Youth Flamenco, Tap Dance and Yoga

Wednesday: The Dance Complex, 536 Mass Ave. Cambridge, MA (617) 216-1643
4:00-5:00 pm Youth Flamenco Level One (ages 7-12) NEW CLASS
5:00-6:00 pm Youth Tap Level Two (ages 9-13)

Thursday: 258 Mt Vernon Street, Newton, MA (617) 216-1643
5:00-6:00 pm Youth Flamenco Level Two (ages 9-12)
6:00-7:15 pm Teen/Adult Flamenco (ages 13+)

Friday: B Yoga, 237 Main Street, Melrose, MA (781) 475-2520
4:15-5:00 pm Youth Yoga (ages 6-11)

Friday: Northeast Youth School of Ballet, 99A Essex Street, Melrose, MA (781) 662-5843
5:15-6:15 pm Teen/Adult Flamenco
6:15-7:15 pm Teen/Adult Tap Dance

Saturday: 16 Porter Road, Natick, MA (617) 216-1643

Editor's Note: Eve is a gifted individual instructor for adults, teens and children. Contact Eve to schedule a private flamenco, tap or yoga session. Eve also specializes in working with children on the autism spectrum and their care givers. Eve also presents flamenco and yoga birthday parties. Contact Eve Agush by email at: AdamAnt_Eve@hotmail.com or call: 617-216-1643

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World Music/CRASHARTS presents From Spain BUIKA

DATE/SHOWTIME: Saturday, October 23, 8:00 pm

TICKETS: Reserved seating: $37.00, $32.00, $30.00
(includes Berklee $1.00 restoration fee)

LOCATION:
Berklee Performance Center
136 Massachusetts Ave, Boston, MA

Hailed as the "Flamenco Queen," Concha Buika is the daughter of political refugees from the African nation of Equatorial Guinea and grew up in a Gypsy neighborhood on the Spanish island of Mallorca. Often compared to a young Nina Simone, Buika completely surrenders herself to her art, plunging deep into her emotions and emerging with a sonorous, rasping voice that reveals her inner anguish. The New York Times calls her unique blend of flamenco, jazz, soul and blues.

Funded in part by the Expeditions program of the New England Foundation for the Arts, made possible with funding from the National Endowment for the Arts, with additional support from the six New England state arts agencies.

For tickets or information call (617) 876-4275 or go to www.WorldMusic.org

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FALL FLAMENCO CLASSES AT SPRINGSTEP JESSICA SOLLEE BEGIN SEPT. 8th, 2010

Beginning Flamenco: FALL I
6 Wednesdays September 8 - October 13, 2010
6:30 - 7:30 pm
$89.00/Members, $99.00/Non-Members
REGISTER HERE!

Learn the fundamentals of flamenco dance, including basic body stance, footwork, arm and handwork, and palmas (hand clapping). Students will learn choreography and how to clap in rhythm to the music, while also learning about the colorful history of this vibrant dance. No prior dance experience is necessary. Please wear character shoes, or boots/shoes with a thick, wide heel. Women should wear a flamenco skirt or a long, full skirt. Men should wear comfortable pants and a t-shirt.

Continuing Flamenco: FALL I
6 Wednesdays September 8 - October 13, 2010
7:30-9:00pm
$99.00/Members, $109.00/Non-Members
REGISTER HERE!

Express yourself through this vibrant Spanish dance. Often accompanied by live flamenco guitar music, students will build upon the basic elements of flamenco, including body stance, footwork, palmas (hand clapping), arm and handwork. You will feel the rhythm, perform the choreography, and learn the colorful history. This class is appropriate for continuing students.

Classes take place at Springstep's state-of-the-art facility in Medford, Massachusetts located directly off of exit 32 on Rt. 93. To visit Springstep Studios, please logon to: www.springstep.org or call 781.395.0402

PROCESSING FEE: A $5 per-student fee applies to all course purchases.Individuals purchasing multiple courses should sign up by calling Springstep at 781-395-0402. By registering for this course you are agreeing to the "Terms of Registration."

TERMS OF REGISTRATION:
I understand and agree to the following: To inform Springstep in the event of any medical concerns that may be prohibitive to the student's full participation in classes; to waive and release any and all claims of personal injury or property damage that he or she may have against Springstep, its agents, faculty, or employees; to allow the registering student's image and/or name to be used in print, film and electronic promotional material.
Note: Springstep reserves the right to cancel courses due to low enrollment.

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World Music/CRASHARTS presents ANGELITA VARGAS & JAIRO BARRULL

World Music Fall Flamenco Festival:
Gitano Roots of Flamenco performing the Boston premiere of Gitanerías

Friday, November 19, 8:00 PM

Berklee Performance Center
136 Massachusetts Ave, Boston, MA
Reserved seating: $50.00, $40.00, $30.00
(includes Berklee $1.00 restoration fee)

Boston Debut

For tickets or information call (617) 876-4275 or go to www.WorldMusic.org








* * * * * * * * * Photo: Sebastien Zambon* * * * * * * * *

and

World Music/CRASHARTS presents PEPE TORRES

Fall Flamenco Festival: Gitano Roots of Flamenco performing the Boston premiere of Homenaje

Sunday, November 21, 3:00 PM

Berklee Performance Center
136 Massachusetts Ave, Boston, MA
Reserved seating: $50.00, $40.00, $30.00
(includes Berklee $1.00 restoration fee)

Boston Debut

For tickets or information call (617) 876-4275 or go to www.WorldMusic.org



* * * * * * * * * Photo: Jerez * * * * * * * * *

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Review: RapAtaPtaP & All that Jazz

RapAtaPtaP is Eve Agush and Patrice Monahan, two tap dancers who met at The Leon Collins Tap Dancers’ Paradise. After having established their roots in tap dance and jazz, Patrice infuses their choreography with her progressive percussive background and Eve embellishes it with flamenco. Together they bring to life a unique multi-cultural experience.

Eve Agush and Patrice Monahan opened with "Cheek to Cheek" and demonstrated their respective talents in flamenco and tap, which led into the Brazilian-flavored "Black Orpheus" by the band.

"Flamboyance, an original Bulerias choreography by Eve Agush and Patrice Monahan was next, I especially liked this number which incorporated contra compas and tap. Then came the standard latin jazz song "Besame Mucho" danced by Eve Agush and Patrice Monahan again employing a combination of the tap/flamenco arts.

In "La Fiesta" the Band composed of Miki Matsuki on Percussion, Rick Stone on Sax (he was AMAZING!!!) Charlotte Dumonton Bass and Karen Quatromoni on Guitar allowed each member of the band to shine.

In "Agua De Beber" Eve employed many traditional upper body flamenco moves with tap and taconeo - her style is very modern and dynamic - exciting to watch!

In the student recital segment, Dancers Aileen Oliva and Corrina Roche Cross danced an Alegrias choreographed by Eve Agush, Ms. Cross is very good - I think we'll see much more of her in the future - she has passion, form, and the rhythm so essential to the art form. Next came a delightful Sevillanas with Aileen Oliva, August Ramos, and Corrina Roche Cross.

The Tap segment started out with "Roustabout" another original choreography by Eve with dancers Priya Gajjar and Sofia Kaufman and a delightful dance with swiffers called "I Am NOT Your Broom!".

The performance returned with "Flamenco Soul" with music by Lionel Hampton followed… this was also an original Choreography by Eve Agush and Patrice Monahan. More Jazz ensued with an original composition by Patrice Monahan on piano accompanied by the the band called "Limbo". Then the two dancers came back together for "Pennsylvania Seis Cinco Mille" a Kansas City Rhythm (Tap n' Tray) swing number with lots of attitude. The show concluded with "Black Orpheus Reprise" a farewell from the band.

Good work Eve - keep it up! we look forward to more.

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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! She's just returned from Brazil with exciting new styles and colors. To schedule a demonstration of the line at your next flamenco class, please contact Laura at livingflamencoUSA@hotmail.com

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 out this amazing line of beautiful solid colors and prints (like Lunares and Floral patterns)!

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Eve Agush’s Youth Flamenco Class Schedule:

THURSDAYS at The Brookline Ballet School:
4:00-5:00PM Youth Flamenco Level One (Ages 7-11)
5:00-6:15PM Youth Flamenco Level Two (Teens and adults, should have at least two years dance experience)
(Please register through the studio - logon to: www.BrooklineBallet.com)

SATURDAYS at 77 Addington Road, Brookline:
11:0AM-12:00PM Youth Flamenco Level One (Ages 6-11)
(Please register by email at: alwaysbdancing@live.com)

Trail classes are offered at all locations to all new students

Also, find Eve, at The Dance Complex, 536 Mass Ave. Cambridge for Youth Tap on Wednesdays:
4:00-5:00PM Level One (ages 6-11)
5:00-6:00PM Level Two (ages 11+)
(Please register by email at: alwaysbdancing@live.com)

Eve is also available for startup classes, privates, choreography and performance in flamenco, tap dance and yoga. (Please inquire through email at: alwaysbdancing@live.com)

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FLAMENCO CLASSES BY SABRINA AVILES

Winter/Spring 2010 Schedule

TUESDAYS (starting January 5):
Adv Beg/Int Technique: 6:30 – 7:30 PM
Intermediate/Adv Repertoire: 7:30 – 8:30 PM

SATURDAYS (starting January 9):
Absolute Beginners (16 yrs & older): 1:00 – 2:00 PM
Advanced Beginners: 2:00 – 3:30 PM
Intermediate/Advanced: 3:30 – 5:00 PM

LOCATION:
Tony Williams Dance Center
284 Amory Street, Boston, MA
Accessible by T Orange Line (Stony Brook Stop)
or car (plenty of free parking)

COST: 1 hr class – $16 drop-in
$54 for a four-class card (expires in six weeks)
1 1/2 hr class – $18 drop-in
$60 for a four-class card (expires in six weeks)
A six-person minimum is required to conduct classes

For more information, visit www.flamencodanceproject.com or email sabrina@flamencodanceproject.com

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Show Review
BOSTON FLAMENCO FESTIVAL 2010

SOLEDAD BARRIO & NOCHE FLAMENCA
Under the Artistic Direction of MARTÍN SANTANGELO

STARRING:
Soledad Barrio, Juan Ogalla, Noé Barroso: DANCERS
Manuel Gago, Miguel Rosendo: SINGERS
Salva de María, Eugenio Iglesias, Jesus Torres: GUITARISTS

Friday, February 5, 2010 8:00 pm
Boston Opera House
539 Washington St., Boston, MA

Noche Flamenca is a mainstay of both the Boston and New York flamenco stage. Each year brings a new interpretation of this dynamic cuadro’s talent and experience. Starting with a “Solo de Guitarra”, the show was off to a less than impressive start. I say this because generally speaking, American audiences expect dance to trump music. By hanging back, the show was able to build slowly. What seems apparent is that the show was top-heavy with music and the balance did not favor the dancers.

By the time Soledad Barrio took to the stage in “Mi Sueñito” with male dancer young Noé Barroso, people were ready to see something intense and beautiful. Ms. Barrio did not disappoint, and surprisingly, Martín Santangelo’s latest choreography shows her in a less traditional and more cutting-edge light. However, the pairing of Barroso with her in this number was not what one would expect. He is much taller and hunches over when dancing. This is not appealing to see. While he may be very skilled technically, unfortunately, when a performer is onstage there are many aspects they need to master. Hopefully as he matures and evolves we will see this.

The “Solo de Cante” by Manuel Gago was up to standard, incorporating his signature vocal style and Noche Flamenca flavor into the number. I was not blown away so much as transported to past performances which were pleasant memories.

Skipping past the next number – I was happily overwhelmed by Juan Ogalla in “Alegrias”. (By the way…I’ve seen Sr. Ogalla in Jerez at the Festivals performing with his sister Pilar. ) Now THIS guy is a phenomenon … beyond that, he has bearing, looks, and a unique style. He is the quintessential flamenco dancer for real, whether dancing solo or with a partner. Basically, thanks to him and Soledad – the show was worth catching.

The dueling canté of Manuel Gago and Miguel Rosendo in “Martinete” was a reinterpreted stock number seen at previous shows, and did not disappoint. It encapsulates the highly competitive nature of “La Vida Flamenca” and while may entertain, it is deadly serious.

Finally, the seductive and sorrowful “Soleá” (with Soledad in a black turn of the century dress) capped off the show as it must be seen – that is to say as the jewel in the crown of this dance company. To see her dance this way, is to see the widow, the abandoned woman, the mother who has lost her beloved child, Hedda Gabler after shooting a wayward lover. In short an unhappy woman - which is the kernel of Flamenco Existence. I look forward to revisiting Noche Flamenca each time – and each time – they deliver.

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Show Review
BOSTON FLAMENCO FESTIVAL 2010

GALA FLAMENCA: TODO CAMBIA
STARRING: Pastora Galván, Manuel Liñán, Belén López, Rocío Molina

Saturday, February 6, 2010 8:00 pm
Boston Opera House
539 Washington St., Boston, MA

Gala Flamenca: “Todo Cambia” (Everything Changes) was a show I quite frankly was not prepared for, nor expected.

Starting with Rocío Molina’s “De Romero. Taranto” this performance was a delight of angular movements coupled with high energy and tremendous skill. Also, I LOVED her leather bolero and sleeveless dress ensemble as well as the knee-high brown suede botas. MAN - - she looked ultra-hip and TOTALLY Spanish! I can’t imagine the amount of endurance someone needs to dance in such clothing but she sure looked goooooooooooood doing it! To the Company Costumer Mirto, you get high points from me for this one!

She then danced “Tonás” (from Oro Viejo) accompanied by her male dancers David Coria and Eduardo Guerrero. What I loved about these numbers was the non-traditional choreography coupled with traditional music and song. Her last offering “La Zocata” a Zapateado which employed wooden rings on the stage held the audience spellbound with her magnetic footwork – a level of which I have generally seen in older more experienced male dancers.

Not to blow my own horn… but several years ago, when Rocío was a dancer in María Pages’ company, I predicted that someday she would in fact have her own company. She has grown from a highly talented young dancer to an emerging star of the flamenco stage.

A fabulous singer, Rosario Guerrero grinded out “La Tremendita” in that gravelly and hauting Andalusian style. Just listening to her made me feel like I was in a small tablao in Jerez, and not in the deepfreeze chill of downtown Boston.

Having never seen the next artist, Belén López in action before, I was astounded by both her beauty which was apparent in Row J as well as her lovely dance form. Speaking of energy in the earlier performer, Ms. López racheted it up a considerable notch. She left the audience breathless while in the commission of her choreographed “Alegrías”, and as part of the female ensemble of “Fandangos” along with Pastora Galván and Rocío Molina.

After a musical interlude under the direction of Paco Cruz the second act brought us the fiery Manuel Liñán, known in flamenco circles for his intense and colorful choreography. He danced a “Soleá por Bulerías” flawlessly. His body, form, and technique equally matched in excellence. To the delight of the romantics among us, David Coria and Belén López flirted with each other in “La Cachuca” with the typical male-female dynamics so well known in Spain.

Pastora Galván danced a “Seguirilla” in black – and this was perhaps the most traditional offering from this young, high-energy cadre of flamenco performers. Despite the traditional base, Ms. Galván brought her family’s trademark movements and interpretation to the number. She is a well-seasoned dancer who can do it all. I remember how she commanded the void left when Canales was unable to make it to New Mexico for the Flamenco Festival de Albuquerque a few years back. She danced like a house on fire and saved the whole show – what a trouper!

I wasn’t overly impressed by the final number “Tanguillos” which employed all the dancers, but considering all the amazing work that preceded it, I give it a pass.

This show was high quality, high energy, dazzling in physical beauty, and last but not least, cutting edge without being over the top. The singers,musicians and dancers were all top-notch and “TODO CAMBIA” was undoubtedly the high point of the all-too-short festival. Hopefully we’ll see more from these young flamenco “lions” in the years to come. ********************************************************************************************
Review by Pasquale Tatò
(Special correspondent to Flamenco Buzz)

Flamenco desde abajo (Flamenco from the Roots)

Presented by Suffolk University & Fundación Conservatorio Casa Patas
Director and Choreographer – Isabel Fernández López
Musical Director – José Luis Silva ("Morito")

November 30, 2009, 4:00 pm
C. Walsh Theatre
55 Temple Street, Suffolk University
Boston, MA 02114

For the second year in a row, Suffolk University and the Fundación Conservatorio Casa Patas
of Madrid have teamed up to present a wonderful Flamenco performance. Staged by members of
Fundación Conservatorio Casa Patas: Flamenco desde abajo (Flamenco from the Roots)
served once again to highlight Suffolk University's commitment to its remarkable cultural
exchange program with Spain... Read the entire review here

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REVIEW: Juanito Pascual at The RegattaBar

Friday, November 6th, 2009
Regattabar @ the Charles Hotel
7:30pm
Charles Hotel (Harvard Sq.) Cambridge MA

What started out as a typical (which is to say fabulous) Juanito & Friends ensemble show, soon developed into a spectacular in every sense of the word. The Charle's Hotel's RegattaBar was transformed into the intimate setting of a Spanish Tablao for Juanito's show. The first number (Juanito on solo guitar) was traditional in form. It had rich variations of tone, much like rain which gusted heavily at times, and seemed to possess the quality of a Muezzin calling the faithful to prayer. With cambios that segued perfectly into crescendo, this piece was amazing! After the guitar solo, all seven cuadro members took to the stage. Juanito knows how to select the finest performers. Take for example Stan Strickland, a jazz giant and professor at Berklee School of Music, whose clarinet and flute make magic onstage.

That night he had some newcomers as well. From NYC, singer/dancer Barbara Martinez, percussionists Jamey Haddad (also a musical phenomenon and teacher at Berklee, and Sergio Martinez from Spain. To top off this brilliant combo, add flamenco dancer extraordinaire Nino de los Reyes and you have three times the value of the admission price. In fact, as Ms. Martinez took to the stage in a Tangos por Bulería, entitled "Me Enamore" the audience saw a lithe, dark beauty, confident in her ability yet without the "serio" attitude. Her voice, smile, and dance skills went beyond charming, they were in fact, essential to the programme. We hope to see more of the exquisite Barbara Martinez as she visits Boston on a regular basis. Stay tuned to Flamenco Buzz for her upcoming appearances and make sure to check out the NEW YORK page.

Next, a tribute to Jazz great, Wayne Shorter using Shorter's original song which was danced in an astonishing manner by young flamenco MASTER Nino de los Reyes. Obviously not traditional flamenco music, nevertheless Nino "owned" every note, and like a semi-automatic weapon, his steps were quicksilver-rapid, yet perfectly a compás. Masterful, elegant, in a word...perfect!

Then Juanito picked up the pace with amore contemporary piece, a Tangos called "Tiferet" (which is on his CD Language of the Heart). During this number and for others, percussionists Jamey Haddad and Sergio Martinez held their own, assuring a flawless pattern of rhythm and sound on their many instruments. (By the way... Sergio played a flat ceramic pot which sounded unlike anything I have every heard!)

Another piece that I enjoyed was "Elation", a fast flamenco rumba, it had all the traditional flamenco elements (Juanito's guitar, Ninon's palmas,Sergio on Cajon) but also Stan Strickland's jazz flute and Jamey Haddad's cymbals. The tempo of this piece was more jazz, but as Juanito always does, he combines both musical genres in a way that illustrates his vision as a musician. Not everyone is successful at this, but Juanito carries it off like a blue ribbon at a pie contest. Absolutely GO to ANY show this amazing artist does. For more on Juanito and his upcoming performances, please logon to www.juanitopascual.com



Artist's Sites:

Nino de los Reyes on Facebook

Barbara Martinez

Stan Strickland

Jamey Haddad

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Paco Peña FLAMENCO DANCE COMPANY
Berklee Performance Center, Boston, MA
Sunday, October 4, 2009
7:30 pm

Review by Pasquale Tatò
(Special correspondent to Flamenco Buzz)

I am terribly sorry if you missed the Paco Peña FLAMENCO DANCE COMPANY show A compás! 'Primal Pulse' because it was simply fantastic. In fact, I will go further and say that it was one of the best Flamenco shows I've seen in years. (And you know I catch every Flamenco show that comes to Boston.)

Illustrious cordobés guitarist Paco Peña did not simply dazzle the audience with his virtuoso toque. He brought along eight other excellent performers: accomplished guitarists Paco Arriaga and Rafael Montilla; cajón player Nacho López; two singers: the captivating Javier Márquez, who also hails from Córdoba, and the truly stunning Inmaculada Rivero; and three fantastic dancers: the familiar (in Boston) Ángel Muñoz (another cordobés); his wife, the sevillana Charo Espino, who is by the way the best castanet player I've ever heard; and the amazing malagueño Ramón Martínez.

Mr. Peña successfully embodies both authenticity and innovation in Flamenco, and he proved as much with this performance. To begin, his mastery of his instrument is truly astonishing (readers of America's Guitar magazine judged him Best Flamenco Guitarist of the Year for five consecutive years). Since 1970, he has toured regularly with his own hand-picked company of dancers, guitarists, and singers. And his shows inevitably bear the mark of his unique sense of Flamenco music-theatre.

The show opened with an evocative ensemble number beautifully choreographed to the haunting strains of a trance-inducing, "tribal" Alboreá, which gave each of the nine performers on stage ample opportunities to impress the delighted audience in turn. This was followed by a lovely solo guitar number by Mr. Peña, La Guitarra Solista.

The third number (Palillos Rítmicos) again featured Mr. Peña's virtuoso guitar playing, accompanied by Ms. Espino's dazzling castanet work, and another beautiful ensemble piece (minus the cantaores) with the three guitarists, the two male dancers, Ms. Espino still on castañuelas, and Mr. López on palmas (Guitarra en Ensemble).

The following three pieces were designed to showcase the three dancers: a driving Martinete for Mr. Muñóz, a beautiful La Caña for Mr. Muñóz and Ms. Espino, and a delightful Alegrías for Mr. Martínez.

After a brief intermission, the performance resumed with a Suite, Baile y Guitarra, a sequence of set guitar pieces, the first two performed by Mr. Peña solo, one (an exquisite Farruca) with Mr. Muñoz, another with Mr. Martínez dancing in turn, or rather interpreting Mr. Peña's masterful toque; the third one featuring the three guitarists and the percussionist.

The next two numbers saw Ms. Espino dancing a Cantiñas and Mr. Muñoz a Soleá, both accompanied by toque and cante. Of the cantaores, Ms. Rivero in particular impressed the audience with her passion, voice register, and feeling, truly the epitome of duende.

Finally, the company ventured into an exploration of the variety and multiplicity of Flamenco rhythms with the last two numbers: Explorando el Compás and Ritmo Nuevo. The former turned all performers into percussionists, some armed with hammers, others with their bare knuckles, and so on. The latter saw the performers return to their traditional rôles, in an exploration of a new rhythm.

Despite his 36 years, Mr. Muñoz has lost none of his youthful energy and exuberance. To the contrary, he has gained in feeling and polish. Mr. Martínez, for the first time in Boston, greatly impressed the audience with his exceptional dancing skills and interpretive abilities. As for Ms. Espino, her poise, posture, footwork, exquisite braceo and hand work, all contributed to making her a regal presence on stage. This was Flamenco Puro in every sense of the word! All in all, it was a truly fabulous show.

It was a full house at the Berklee Performance Center and the audience was simply ecstatic. A few cursory glances and occasional conversations gave this reviewer the impression that there were a significant number of people new to Flamenco in the audience, all no doubt turned into aficionados overnight by this stellar performance.


Editor’s Note:
Paco Peña FLAMENCO DANCE COMPANY continues its North American Tour. Log on to the tour site HERE for all locations and dates.

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REVIEW OF TABLAO FLAMENCO

Lauren O'Donnell has grown from a student to a performer with the show Tablao Flamenco. Her dedication to the art was evident last night as she held her own with seasoned performers Vicente Griego, Ricardo Diaz, and Antonio Arrebola. At times exquisite, at times "de la calle", Ms. O'Donnell has shown that the intense dedication to the art of flamenco can be realized in one not born to the genre. This was something she had to discover on a journey that has taken her from being a student of Omayra Amaya all the way to Spain. I daresay, the "sentimiento" she displayed last night must have been one of the precious attributes that merciless but amazing Andalusian flamenco instructors beat into her. That's how it must be if a person embraces the fire of "La Vida Flamenca".

Seats at the Julie Ince Thompson Theatre at the Dance Complex filled up fast, and among the spectators, Ramon de los Reyes sat proudly with sons Isaac and Nino, who are young flamenco legends. They observed Lauren's numbers intently and after each, clapped their approval. Singer Vicente (El Cartucho) Griego dedicated a Cante Jondo to "Tio" as he affectionately referred to Ramon.

It was an incredible night. As Lauren found her inner "gitana", Ricardo played like a house on fire, Vicente's voice filled the entire of Central Square with a heretofore unheard depth, and Antonio Arrebola provided an intensity of dance that left him completely drenched in his own sweat. By the way...Arrebola is a dancer who does not pull any punches. He is 100% fire, and no ice that I could see. Lauren danced with him as the elegant "Cathy" to his rabid and voracious "Heathcliff".

Word of mouth is spreading fast...if you haven't already purchased tickets you had better hurry. As of last night (Friday Sept. 18th) Saturday's show was sold out! Congratulations to Lauren and her entire group of performers and volunteers for bringing a night of sheer flamenco enchantment home to Central Square with two more to come. I am certain it wasn't easy, but then, nothing so special... is.

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REVIEW: Chuscales in Concert

presented by Flamenco @ MIT
Sunday, March 1, 2009 - 8:00 pm
Kresge Auditorium, Cambridge, MA

Featuring Chuscales - Guitar & Musical Director
Vicente "El Cartuche" Griego - Cante
Francisco Xavier Orozco "El YiYi" - Cante & Percussion
Mina Fajardo "Mina" - Baile
Juan Siddi - Baile

Introduced by spokesperson Miriam Makhlouf of Flamenco @ MIT, the show could not have happened without the help of a generous grant from the university. Chuscales' show is the second offering from these fledgling flamenco promoters and aficionados.

Opening with Granaina, Chuscales was accompanied onstage by El YiYi and the amazing Vicente Griego, whose voices rang clear and strong at the acoustically perfect Kresge Auditorium. Griego began touring the US in 1992 and has appeared with Jose Greco II and Albuquerque's Yjastros Dance Company under the direction of Joaquin Encinias.

Tona came next highlighting singer Vicente Griego's special style. Following that, the entire company performed a Seguiriya. A musical interlude, Malagueña came next and a lively dance number Tarantos finished out the first act. The dancers were entertaining, however they truly came alive in the second act.

Starting off the second act with a Tientos/Tangos Juan Siddi showed what stuff he's made off. This is a journeyman flamenco performer recognized throughout the industry. He's danced, directed, and choreographed around the world. Here in the US, he's directed and performed in the Juan Siddi Dance Company, as well as being principal dancer for Company Maria Benitez and La Tania in San Francisco. He's also appeared as a guest in the top flamenco festivals of Genoa, Sevilla, Venice, Qatar, and Santa Fe. His own company, Juan Siddi Flamenco Theatre has toured on stages from Berlin to New York. Needless to say, his amazing dance acumen was evident in this number.

A Solo de Cante featuring El YiYi highlighted his unique vocal style. Another veteran of Maria Benitez' company. He's performed with Domingo Ortega, Jose Greco II, and Alejandro Granados. He's also appeared in New York with Maria Del Conte. A true son of Andalucía, his father (singer Joselon de Jerez) trained him in cante at Peña Fosforito. Known both in the US and Spain this is NO flamenco lightweight!

Mina Fajardo's talent as a dancer truly blossomed as a "flamenquita" in the second act with Alegrias which made the first act seem like a "warm-up". Her command of upper body and footwork was more pronounced (this particular number appeared to be second nature). Based in Santa Fe, NM, she has performed with many artists such as Elena Andújar, El Pripi, La Tibu, Juan Siddi, and of course, Chuscales. She currently performs with Chuscales and El YiYi at Local Tablao Flamenco in Santa Fe.

Chuscales performed his Solo de Guitarra with the skill of a man born to flamenco (his family, prominent in flamenco from the caves of Sacromonte). The musical legacy continues, with his son, Luis Miguel Manzano, (who recently appeared with Guadalupe Torres presented by Suffolk University and Fundación Conservatorio Casa Patas here in Boston last November - see review below. Over twelve years ago, a somewhat younger Chuscales played with Omayra Amaya here in Boston at the Park Plaza in Omayra y Flamenco. He currently lives and works in Santa Fe, New Mexico plays in many companies (think, "Noche Flamenca").

Solea por Bulería contained the entire company in an enthusiastic display of all the elements of flamenco - fire, grace, passion, sorrow, anger, and desire. This was the defining number of the show. The Fin de la Fiesta finished the show and the audience whooped and hollared their approval. Another great show presented by Flamenco @ MIT - and a testament to flamenco's diversity and beauty. One can only imagine what's next for these dedicated devotees of flamenco.

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FLAMENCO FESTIVAL REVIEW #1:

Compañía Isabel Bayón performing "La Puerta Abierta"

(Original Concept by Pepa Gamboa with Choreography by Isabel Bayón)
Friday, February 13, 2009 - 8:00 pm
Cutler Majestic Theatre - Boston, MA

From the programme
"La Puerta Abierta takes place in a performer’s abode, a metaphysical room where the artist’s freedom takes priority. Isabel Bayón comes and goes through a door to display the internal and external worlds. On stage, the extraordinary voice of Terremoto and musicians meld with Bayón’s dance to capture the whole range of emotions, from joy to sorrow. The interaction between Terremoto and Bayón enhances the performance with their chemistry and stage presence. The result is a thoroughly entertaining and thought-provoking piece, harmonious, natural, innovative and beautiful. At its premiere at the XIV Bienal de Arte Flamenco de Seville in 2007, La Puerta Abierta won the Giraldillo award for the festival’s best performance."

What was gorgeous to witness was (as web-journalist ed young also observed) the fact that Ms. Bayón danced not to the audience, not to her ego, but purely and exclusively to the singer!!! Her sinuous arms reached behind her in almost supernatural grace, with a reach far longer than any dancer I've ever seen. Angular movements (reminiscent of colleague/mentor Israel Galvan) mixed and melded with elements of ballet, modern and traditional flamenco dance styles.

Her use of minimal staging (great lighting, no sets, and no distracting costumes) served to crown the quality of her work. Especially pleasing to the eye, a black bata de cola skirt with red under-ruffles was pure genius! The lighting accented the bata's blood-red ruffles with just enough "tease".

She had the courage to dance in a strapless top which she combined with many different skirts and accessories (dressing onstage - and remaining onstage for the entire production). There were moments when it seemed like the ghost of Audrey Hepburn, complete with long black gloves, stepped out of Tiffany's window to execute the most delightful braseos! This dancer takes risks and they pay off in spades. This was not a footwork athlete, this was a DANCER!

What a relief to see such intricate movements coupled with a true respect for Cantaor Miguel Ortega (the Guest Artist who stepped in for Fernando Terremoto - who was ill and unable to make the performance) setting the theatre on emotional fire with his clear and doleful voice. You have to admire the versatility and courage of performers like these to step into the fray, brimming with self-confidence. They know their craft inside/out.

Guitarist Jesús Torres (like Isabel, a former company member of Noche Flamenca) is a journeyman guitarist who knows how play for a talented cuadro in order to achieve tight accompaniement to the production. Additional "props" for Antonio Coronel's amazing percussion and the palmas of Luis Peña and Carlos Grilo (brother of flamenco superstar Joaquín Grilo). No intermission and a tight schedule of numbers placed additional demands on this cuadro and they handled it with remarkable aplomb.

What a shame it was only one night - theatregoers and flamenco aficionados could revisit this and see so many different nuances each and every time. It was a true privilege to see this remarkable troupe and hopefully they will return again someday to grace future Boston Flamenco festivals.

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FLAMENCO FESTIVAL REVIEW #2:

Photo by Zarmik Moqtaderi

Noche Flamenca performing “La Plaza”
Emerson Majestic Theatre – Boston, MA
Sunday February 15, 2009

Empty chairs defined the stage as it filled with song and the company of Noche Flamenca filed in. The opening number “La Plaza” (choreographed by Martin Santangelo) revealed a cadre of modern Spaniards, dressed in street clothes, each dancing to his own drummer. Soledad Barrio in trousers looked like anyone you’d meet in Madrid, but the way she moved was flamenco - tradicional y puro”.

Female dancers Sol La Argentinita and Rebeca Tomás graced the stage and performed quite well, each had a slightly different style but were utterly professional. Their accompanying dance movements balanced the stars in an appropriate and entertaining manner. Sol is a local NYC dancer who performs with Carlota Santana, Andrea Del Conte, and Omayra Amaya. Rebeca has also performed with Carlota Santana and has appeared with Edwin Aparicio as well as the tablaos of Spain. (Per his usual vision, Artistic Director Martin Santangelo always puts together a terrific set of performers.)

Next, Emilio Florido belted out cante in a solo that displayed the many years of experience garnered working with the likes of Alejandro Granados, Isabel Bayón, and Rafaela Carrasco. This segued into the “Solea por Siguiriya” performed by the sensational Antonio Jimenez (“El Chupete”). His look, disheveled, spent, and exhausted, his dancing, anything but. He has that typical Spanish look, a young man’s body housing a very old one. A mainstay of the tablaos and peñas in Andalucía, his performance was raw and unadulterated by the preening and prissiness of more contemporary male flamenco “divas” choreographies. What you see is what you get and what you get burns the eyes the way moonshine burns the throat. In a word…intense!

The short first act was followed by a second act which started out with an Alegrias performed by Soledad Barrio and Antonio Jimenez. It was erotic, languid, and satisfying to see, but then anything choreographed by Soledad Barrio usually is. There was a little more contact than one usually sees with two people dancing flamenco but it was executed brilliantly.

The guitar solo by Salva de Maria was beautiful – if a little too predictable, but then gave way to Soledad again dancing a Solea as only she can. The many vueltas brought gasps to the audience, her body moving in those dangerous backflips that can ruin a career if done incorrectly. But her confidence and experience are the control that assures perfection each and every time.

Sadly, the all too short production came to an end with the Fin de la Fiesta – all company members present and accounted for. It was another fabulous show by the perennial Boston Flamenco Festival favorite – Noche Flamenca.

Check out the latest information on Noche Flamenca including tour dates and other news at www.nocheflamenca.com/


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Review of "Sangre Flamenco en Gira" by Mari Katsigianis

Last Friday night's house at the BU Dance Theatre was nearly full
as the curtain rose on the show. Mavi Dance hosted the event and
in the first half there were ethnic dance numbers from Eastern Europe
and Turkey included with Spanish Classical dance performed by Mavi
Dance. Alternating between Mavi's company, Clara Ramona appeared with
her dancers employing fans and castenets to recorded classical music.

The end of the first half was completed by brothers Isaac and Nino
De Los Reyes dancing with no music to a completely compás-oriented
number. Their ritmo was flawless as was to be expected.

What this reviewer waited for, and was rewarded with, was the second
half of the show. A show replete with live guitar by Juanito Pascual,
piano by Alejandro Carrasco and vocals by Leo Treviño. One after
another, the cuadro "hit it out of the park". This half started with a
martinete performed by all the musicians and which highlighted
Nino's dance skills. Other dance offerings included solos by
Nino, Isaac, and a fin de la fiesta which included Clara Ramona
together with her sons.

To see one of the De Los Reyes boys is amazing, to see them both,
on the same stage is a gift. Proud papa Ramon De Los Reyes beamed
great pride in the audience as his sons - already young legends
in the world of flamenco - made their marks on Boston once more.
A phenomenal show with the very best artists will not soon be forgotten.

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REVIEW: Ida y Vuelta (Coming & Going)

Photo of Guadalupe: Juan Pelegrín/Lonnie Tague www.casapatas.com

Presented by Suffolk University and Fundación Conservatorio Casa Patas

Director & Choreographer – Guadalupe Torres
Musical Director/Guitar – Luis Miguel Manzano
with José Maldonado – Dancer
José Anillo & Francisco Luis Trinidad – Singers
Diego Villegas – Flute/Saxophone/Clarinet & Harmonica

November 24, 4:00 pm at the C. Walsh Theatre – Suffolk University, Boston, MA

Before the performance, Sebastián Royo, PH.D. spoke on the origins of flamenco and how the amalgam of cultures within its core existence serve as an example of diversity and sharing of traditions. The study and appreciation of flamenco is especially important in an age of fundamentalism and intolerance, he later went on to say, and that is one of the main reasons that Suffolk University brought the above dance company to perform as part of a year-long series of events highlighting Spain.

Additionally, Professor Marilyn Plotkin who heads up the Summer Studies program in Madrid was excited and privileged to present Fundación Conservatorio Casa Patas in Boston as an example of the many cultural exchanges that a summer in Suffolk’s Madrid Campus can offer. (More information of how you can apply for this program will be presented in the weeks to come.)

Guadalupe Torres appeared with José Maldonado in the first number “Buscando” which had no fancy staging, lighting, or costuming (which for me are all distractions anyway). This Farruca, a traditional version of flamenco from Galicia, was well accented by Diego Villegas flute and clarinet accompanyment. It was especially enjoyable to see Guadalupe's movements in contrast with her partners. There was superb footwork, along with the ritmo of the musician’s palmas.

Photo of Luis Miguel from NY Flamenco meetup site

Next came a Tangos instrumental played brilliantly by the musicians under the apt leadership of Luis Miguel Manzano (descendant of a long line of great flamenco guitarists and dancers). His father, Chuscales, was on the Boston flamenco scene some 11 years ago when Omayra Amaya had her show “Omayra y Flamenco” at the Park Plaza. Like father, like son. Both are unimaginably facile at their craft and play guitar like their hands were on fire!!! (Also, they both enjoy Flamenco Buzz tapas at parties.) Singers José Anillo and Francisco Luis Trinidad had their work cut out for them – despite an uncooperative microphone and their voices resonated clearly in the “cante jondo” style of deep flamenco singing.

Next up, “Soleá por Bulerias” highlighted the physical and technical skill of Sr. Maldonado as well as providing yet another example of Luis Miguel’s gorgeous guitar stylings. I especially liked José's complex patterning of taconeo as well as an attitude of reckless indifference – it was like a blast of hot, fiery air in a sub-zero room.

The resilience of “woman” came through loud and clear when Guadalupe took the stage again in a Soleá played in the key of E. This is a soulful and erotic dance with strong roots from Andalucía. Her womanly frame displayed all the hope, disappointment, lost love, and eventual rebirth so synonymous with the flamenco experience. Utterly believable, she conveyed that sadness throughout her body and up through her very fingertips in a graceful arc that extended her soul to the heavens.

The “Encuentro” played up both dancer’s fantastic skills. The crowd was on its feet several times to applaud before the end of the number with an enthusiasm which many being new to flamenco demonstrate. (This show is a taste of what is to come for those who make the Summer Program in Madrid a reality. )

The show capped with a “Fin de Fiesta” which was hilarious as each company member donned silly wigs and hats as the musicians did their quasi-flamenco footwork. The group has a genuine like for one another as was made apparent by their comeraderie throughout the performance. Having come from San Francisco, New York, and other venues, Boston was the final installment in their tour. The company spends today conducting a Master class before heading home to Spain where a much deserved rest awaits. Boston has great opportunities for fine flamenco, and this show is yet another case for that potential to be realized.

The Suffolk University organizers as well as Fundación Conservatorio Casa Patas’ Begoñia Fernández Pellicer are to be commended for their hard work and extraordinary commitment to bring flamenco to the students and this city.

EDITOR’S NOTE: Please stay tuned to Flamenco Buzz for more information on how you can apply to the Suffolk University Summer in Madrid Program

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