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BETH NESBITT’S CALIFORNIA BUZZ…
(part of www.flamencobuzz.com)



Contact Beth:


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FLAMENCO EVERY SATURDAY AT MOJITO!

DATE/SHOWTIME: Saturday, March 6, 2010 at 7:00pm

COVER: $15.00

This Saturday will be featuring:
Melissa Cruz
Fanny Ara
Jason Mc Guire " El Rubio"
Roberto Zamora

LOCATION:
Mojito
1337 Grant Avenue, San Francisco, CA

CALL:415.398.1120

LOGON: www.MojitoSF.com

EMAIL: mojitosf@gmail.com

Flamenco returns to the heart of North Beach featuring a variety of the best Bay Area dancers, singers and musicians.
Have a drink, sample an inexpensive tapas menu and enjoy a passionate, exciting flamenco show, followed by a dance band every Saturday.

OLE!!!

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Mojácar Flamenco performs at the Bellavino Wine Bar

DATE/SHOWTIME: Friday March 12, 2010 from 8:00pm - 11:00pm

Bellavino Wine Bar and Restaurant offers live music in Westlake Village.
Open for Dinner & Dancing, Jazz, Classic Rock, etc.

LOCATION:
Bellavino Wine Bar
3707 East Thousand Oaks Blvd.
Westlake Village, CA 91362
Phone: 805-557-0202

Join Mojácar Flamenco at the beautiful, elegant Bellavino Wine Bar in Westlake Village for fiery flamenco Latin Jazz music. Featuring guitar virtuoso Stephen Dick, dynamic flamenco singer/dancer Katerina Tomás and special guest artists, the show features songs from the award-winning album "Al Que Quiere," great new songs by composer Stephen Dick, and flamenco songs by the late, great flamenco cantaor, Camaron de la Isla.



ADMISSION: There is no cover charge for this show. Buy a drink at the bar!

RESERVATIONS: Call the Bellavino Wine Bar at: 805.557.0202

INFORMATION: Email:katerinatomas@sbcglobal.net or Call: 626.403.7489

EMAIL: info@bellavino.com

OR LOGON TO: www.bellavinowinebar.com

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Cafe Flamenco at the Verdi Club

Join us for our NEW WINTER SHOWS at the Verdi Club! On Saturday, February 20, we have the pleasure of presenting special guest artist SALVADORA GALAN, a native of Ronda, Spain, in a tribute to the "Cante de la Mujer" in Flamenco. A fine guitarist herself, on this occasion Salvadora will be accompanied by Jason McGuire "El Rubio," and joined by the world-class artists of Caminos Flamencos including Yaelisa, artistic director, dancers Fanny Ara and Marina Elana. A wonderful opportunity for Bay Area aficionados to experience the arte of Salvadora Galan in a rare Bay Area appearance, as well as other surprises! Enjoy our full bar, sit at a cocktail table of your choice and see great flamenco...

Experience Cafe Flamenco at the Verdi Club in San Francisco with a full bar lounge, and a menu of Mediterranean tapas by Mimi Martinez Catering featuring finger foods and combination plates (TBA)

Two distinct shows and times, 8:00pm and 9:30pm. Most patrons come for the 8:00pm showtime, general seating ONLY. The 9:30pm show accepts reservations DEPENDING UPON AVAILABILITY. Groups of 8 or more may request a reserved table for either show via the Caminos Flamencos office at (510) 531-9986. Your ticket is good for the entire evening, which includes Sevillanas Club....come and party with us!

BAR, TAPAS AND TICKETS AT THE DOOR ARE CASH-ONLY.

TICKETS: $18.00/advance, $22.00/door, Children under 12/$10.00

LOGON Online at www.brownpapertickets.com or phone 800.838.3006

Contact Caminos Flamencos at: info@caminosflamencos.com or phone 510.531.9986

Café Flamenco at the Verdi Club
2424 Mariposa St.
San Francisco, CA 94110

CALL: 415.861.9199 OR LOGON TO: www.verdiclub.net

Plenty of street parking available to our patrons!





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Mojácar Flamenco performs at ARTTalk March 20, 2010

Saturday March 20, 2010 (2:30PM - 3:00PM)

Join award-winning Mojácar Flamenco at ARTTalk, a cutting-edge word and theatrical performance event featuring music, dance, theater and film on Saturday, March 20, 2010 from 11:00 a.m. until 5:00 p.m. ARTTalk features some of Los Angeles’ most established and emerging performers. ARTTalk is a free, all-ages event.

At 2:30pm Mojácar Flamenco presents a powerful new flamenco work – “Farruca/Tangos de Málaga.” Established as a flamenco dance by the legendary flamenco dancers artists Vicente Escudero, Antonio Gades and José Greco, the Farruca and Tangos de Málaga continue to resonate with artists and audiences worldwide. Explosive dancing and guitar playing highlight the powerful message of this work – No empleéis la violencia/don’t use violence.

Join us for ARTTalk at Boston Court Performing Arts Center, 70 N. Mentor Avenue, Pasadena, CA

CONTACT: www.bostoncourt.org; 626-683-6883

FOR INFORMATION, CONTACT Mojácar Flamenco: www.mojacarflamenco.com; 626-403-7489

THIS IS A FREE EVENT for ALL AGES Go to: http://weplaydifferent.wordpress.com/2010/03/03/arttalk-at-boston-court-saturday-march-20th/

ARTTalk is sponsored by The Playhouse District Association of Pasadena and Boston Court Performing Arts Center.

For more details about this event, including maps, comments, and other attendees, visit the event page at http://upcoming.yahoo.com/event/5577360/?invitation=84fb689eaa ********************************************************************************************


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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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The Flamenco Society of San Jose



Read the latest news

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Flamenco Arana in San Diego

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Check out El Cid - Flamenco Nightclub & Restaurant...



LOGON HERE!

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REVIEW: Amargo’s ‘Tiempo Muerto’ Fuses Modern with Flamenco

By Beth Nesbitt, Flamenco Buzz Correspondent

The intimate setting of the Nate Holden Performing Arts Center was treated to
six electrifying breakout performances by Andalucía-born Rafael Amargo &
Compañía de Flamenco in his sixth flamenco production ‘Tiempo Muerto’
(Time Out) September 5-11 here in Los Angeles...

read more









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REVIEWS OF THE NEW WORLD FLAMENCO FESTIVAL SHOWS!!!

Compañía Rafaela Carrasco’s “Una Mirada al Flamenco” (A Look at Flamenco) Saturday, August 12, 2006

“A New Flamenco Mosaic”

Reviewed by Beth Nesbitt

Saturday night’s highly anticipated “Una Mirada al Flamenco” presented a fascinating new vision of flamenco performance. Rafaela Carrasco’s original choreography embraces refined movement, sophisticated lighting and haunting musical threads, pushing boundaries so strikingly original they defy categorization.

As the third and final featured company in this year’s Irvine Barclay Flamenco Festival, Compañía Rafaela Carrasco took the stage for a new flamenco mosaic. Advance buzz had it that Rafaela Carrasco was the hottest flamenco dancer in Spain and not to be missed. But there was a surprise as the evening unfolded, more striking as each number of the seamless 70-minute nonstop production blended Andalucian roots with jazz and contemporary influences. Of note was the impeccable choreography, which offered a new model for translating an intimate art form to a large audience.



Lighting designer Gloria Montesinos’ haunting spotlight-driven opening ‘Bulería’, Encuentros, pushed all boundaries of time and space. Ms. Carrasco stood poised, sinuous arms twisting, punctuating vueltas quebradas (deep back-bent turns), with crisp footwork driving the rhythm. Dancers were individually highlighted - - - two, three, then five - - - each brilliantly challenging the compás in small vignettes. Piano and cello music from Pablo Suárez and José Luis López, respectively, wove doleful melodies around solid mainstays of the bulería, with the flamenco guitars of Arcadio Marín and Jesús Torres superbly articulating the compás.

Solo un Solo, a haunting ‘Malegueña de Trini’ which transitioned into a ‘Fandangos de Frasquito’, featuring cantaores Antonio Campos and Miguel “Picuo,” emerging from smoky darkness. These two impressive young singers presented individual expression to this ancient and mournful song. Ms. Carrasco then took the stage for a minimalist, heartbreaking solo, which transcended the established rhythm to match Torres’ guitar arpeggios. Ms. Carrasco's dances have a compelling formal logic, so that each unexpected entrance or departure feels simultaneously inevitable.

The ‘Farruca’ dazzled by setting a mood not based on personality but elemental presence. Highlights included a spot lit Rafaela caressing a bata de cola, clutching it sensually to her bosom. One female and two male dancers enter dressed in black, whip-trained, coiling batas, lending all a sculpture-like quality to their ensemble effort. Throughout the evening company dancers Concha Jareño, Rocío Montoya, Daniel Doña, and Ricardo López continuously displayed versatility in expression.

Entre Dos, a ‘Tarantos de Almeria’, featured the vibrant tabla playing of Nacho Arimany who also sang the punctuated Indian accents to shouts of olé. A haunting ‘Martinete’ featured strong cante and dynamic rebellious choreography. Adding to the evening was the arresting imagery of Pepa Carrasco’s beautifully styled black and turquoise costumes, smartly accentuating the boundless energy of the group.

The finale, a ‘Soleá’, captured the darker side of love and portrayed the art form's aching embrace. A delicate cello, lyrical piano, and expressive guitar and singing maintained the intensity of emotion. Ms. Carrasco was again superb. She is an elegant, refined, yet gutsy dancer and choreographer who has made an indelible footprint in contemporary flamenco as well as the world of dance.

Congratulations to artistic director Yaelisa, president and producer Douglas Rankin, director of communications Karen Drews Hanlon, and the superb staff of the Irvine Barclay Theatre. What a fitting end to this year’s New World Flamenco Festival and its theme “Sin Fronteras.”

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Son de Jerez - A Soulful Mix!

Reviewed by Beth Nesbitt

The Irvine Barclay Flamenco Festival is now one of the year's biggest events in Southern California, and Tuesday night’s blend of traditional flamenco and contemporary tap had all the promise of a sure-fire winner.

Jerez is the flamenco world’s rhythm center, where compás is king. In the evening’s opener, "Son de Jerez," we were treated to a performance of dancers all hailing from Jerez de la Frontera in the southern Andalusia region of Spain. Its residents have their own unique way of feeling the rhythms of flamenco, particularly the bulería, which was invented in this region.

Bulerías "De la Calle" highlighted the best of this intimate circle. The combination of strong vibrant singing from both Manuel de la Malena and Luis Moneo, rock-solid guitar work from Domingo Rubichi and Juan Manuel Moneo, and intoxicating dancing from Andrés Peña, produced energy-driven displays of pure Jerezano-styled flamenco. Every gesture and musical accent expressed a fierce, implacable hauteur, a wonderful mixture of pain and pride, along with an erotic fire whose flame can barely be contained.

Each flamenco song and dance, by definition, has a set rhythmic form. Yet flamenco is a performer's art, and no flamenco dancer is like another. Although not a Jerezana, Yaelisa’s "Por Soleá" extended a personal presence, with majestic refined arm work and impressive percussive footwork.

A musical highlight was a solo by noted guitarist Domingo Rubichi, who exhibited great passion and feel. Peña again took the stage for another masterful display of raw sustained energy, mixing whiplash movements with stellar footwork.

I quite like the current trend in flamenco that fearlessly combines other styles into its framework. The evening’s second half featured the much-anticipated flamenco/tap duo. Savion Glover’s engaging syncopated footwork seemed a natural pairing with flamenco dancer Yaelisa. Glover is a tap dancer master capable of locating, cajoling and transmitting an amazing array of subtle rhythms through his feet. Clearly he enjoys his ability to create unique rhythmic expression, and shares this with an audience. Yaelisa displayed strong variations in both duet work and solo performances. This pairing, however, only sparked and smoldered without really ever catching fire. Jason McGuire “El Rubio” added his own special virtuosity in a strong solo performance.

The finale assembled all performers on stage, with Savion Glover featured on a raised platform in the center. Mr. Glover unfurled dazzling rocket-like footwork rhythms that in every way blended with his flamenco counterparts. Yaelisa then took over and gathered her own momentum--to hearty applause and encouragement from the audience.

The triumph was that the evening’s soulful mix gave everyone bountiful displays of excellence in both dance genres.

Next up Compañía Rafaela Carrasco.

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Review of Compañía Juana Amaya With Juan del Gastor at the Barclay Theatre
As part of the New World Flamenco Festival, Irvine, CA

Reviewed by Beth Nesbitt

¡Aire, Aire, Aire!

The Irvine Barclay Theatre and artistic director Yaelisa have once again has brought the best of Spain’s flamenco artistry to Southern California. The highly anticipated New World Flamenco Festival’s fifth season opened with a resounding force to hearty crowds of appreciative viewers.

Morón, a tiempo y a compass - (Morón, a time and a rhythm)

On Friday night, loyal fans crowded into the Irvine Barclay Theatre to see legendary flamenco artists Compañía Juana Amaya and guest artist uncle Juan del Gastor perform their magic.

Dedicated to the city of Morón de la Frontera, deep in the heart of Andalucia, the show was full of the heartbeat of true flamenco and told a story of time and rhythm.

Juana Amaya’s consummate artistic mastery and ability to compel an audience were apparent from the opening moments. A spotlight highlighted the company seated around a low wooden table. Raping knuckles set the compás, haunting guitar falsetas established the melody, and richly impassioned singing began the evening's Presentación Bulerías. What immediately came to mind was the classic scene in the film Los Tarantos, with Carmen Amaya pounding out the compás on a wooden table in knuckle-rapping frenzy. This Presentación evoked that same spirit.

All three singers, which included El Galli, and El Extremeño, a last minute replacement for an ailing Juan Jose Amador, displayed amazing vocal dexterity. Superbly imposing dancing continued with Nazaret Reyes (pictured here with Juana), daughter of Juana Amaya and Cristóbal Reyes (you can imagine that gene pool!) ascending onto the table for an impassioned performance. Juana finished off the opening, ascending as well to continue the bulerías with powerful footwork that expressed such pure joy--and aire--that all in attendance seemed to inhale its richness.

The evening proceeded with the best of the best, a Martinete into Siguiriya, featuring spotlighted solo work from all singers, and Juana Amaya displaying mind-blowing footwork (no one can match her) mixed with pure aire that was both haunting and anguished. Ms. Amaya’s choreographic intelligence and maturity allowed each flavorful detail to hang suspended, dominate, then embrace the next, as if performed in a trance-like state.

Solo guitar work by Juan del Gastor featured 20 minutes of music that captured the bittersweet suffering of love and life--true mainstays of flamenco. The duet work of El Extremeno and guitarist El Bola embodied vitality and passion.

Friday night’s performance excluded dancer Jairo Barull due to an ankle injury, but none were disappointed with daughter Nazaret's fine cantiñas. This compact version of Juana Amaya (an exact replica) exhibited all the styling and footwork strength, with a forceful high-energy style of her own.

Juana again took the stage with a powerful Soleá por Bulerías that transitioned into a brilliant Soleá--the Aire dexterously unfolding and refolding around her signature palo, with stern, imposing, technically perfect footwork. Make no mistake: to witness Ms. Amaya’s brilliant, deeply personal and soulful performances is like a small piece of heaven opening just for you.

¡Aire, Aire, Aire!

Next Review up: “Son de Jerez” (please note program change) and Savion Glover with Yaelisa for the mid-week show.

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11/09/05

“A Walk Across the World”

Reviewed by Beth Nesbitt


Photos L-Pedro Ricardo Miño, R-Jackson Browne, by Beth Nesbitt

The legendary Friars Club of Beverly Hills provided a stellar backdrop to Saturday night’s Living Wellness Foundation’s premiere fundraising “Walk Across the World” concert, featuring renowned singer-songwriter Jackson Browne and flamenco pianist Pedro Ricardo Miño.

In keeping with the Foundation’s theme of world peace thru spiritual and cultural understanding, Browne and Miño provided a magical and strikingly relevant evening of music.

The opening set featured Miño in a range of richly moody solos that ran the gamut from seduction to despair. In the taranta, a traditional song of the Andalusian miner, Miño threaded tragedy and sorrow with edgy keyboard dexterity. A seductive guajira captivated the crowd with light, glittering rifts. In contrast, the hard-hitting 12-count soleá mixed mournful, dark undertones with beautifully eloquent modulations. Miño's richly flavored bulerías were ablaze with nimble-fingered licks and sparkling bebop assuredness.

Hailing from Sevilla, Spain, Miño unites the rhythms and textures of his country's native flamenco tradition with American jazz and blues improvisation. Drawing from the alluring sounds of heavyweights like Bill Evans and Thelonius Monk and blues master Muddy Waters, Miño merges precision, style and soul into his masterful playing.

After an intermission Browne took the stage to revisit some of his classic songs in an intimate acoustic setting. Known for crafting songs that integrate rock, soul and blues--all with a heaping helping of warmth and humanity--Browne offered up his heartfelt, slice-of-life tunes to a packed and appreciative house.

Saturday's eleven-song set reminded us of the beauty and timelessness of Browne's songwriting talents. “After the Deluge,” a stunning personal narrative of doomsday prophesy, was presented with refined voltage, while “These Days” proved just how moving a simple ballad can be. Classics such as “Looking into You,” “For Everyman” and “How Long” rendered emotional scenarios with Browne's expressive vocal power.

Browne moved effortlessly from acoustic guitar to piano and electric keyboards to give each number a flavor of its own. Other musicians--on trap drum, electric bass, oud and djimbe drum--added the perfect world music texture and rhythm to Browne's engaging set.

Miño returned to the stage to join Browne in his final number plus two encores, which featured the '70's anthem, “Running on Empty,” and a four-member all-female gospel choir, directed by Fred Martin. Bringing together such diverse musicians and musical genres gave testament to Browne’s unique ability to ‘walk across the world’ and into our hearts.

There is a word in Spanish,duende, which describes a concept in flamenco that does not have a literal English translation. It can mean many things but principally it has to do with feeling. Intense feeling, one that comes after a majestic sweep of notes that elicits a spontaneous luminous moment.

Everyone felt duende at Saturday night's performance. And our applause to Jackson Browne, Pedro Ricardo Miño and the other fine musicians was our way of shouting--olé!

TO LEARN MORE LOGON TO: www.soundsofthesacred.org

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REVIEW OF: Ballet Flamenco José Porcel (by Beth Nesbitt)

Segerstrom Hall, Orange County Performing Arts Center
600 Town Center Dr., Costa Mesa, CA
October 27, 2005 8:00 pm

Thursday’s opening night performance of Ballet Flamenco José Porcel embraced both the powerful and sensual sides of traditional flamenco dance. The well-rounded program, presented in two parts, combined expressive ensemble choreography with imaginative duets and trios. Throughout, Porcel displayed choreographic intelligence and maturity that allowed him to weave well known flamenco movements into his own personal vocabulary.

The first segment featured the company's flashy bulerías, as well as Porcel’s dramatic solo farruca, danced in an eye-catching green velveteen suit. The four female dancers then took the stage with an uplifting traditional-style guajira. A highlight was the male trio's somber solea, spot-lit for dramatic effect. The male members brought the house down several times with their heart-stopping footwork and majestic turns. Their highly individual body types, focused facial expressions, and attention to detail provided a perfect foil for the women and background for Porcel.

Opening the second half, Porcel’s tiento/taranto duet with one of the women allowed wonderfully intense moments to develop through suggestive strokes of the cheek, a head nestled against a chest, even an actual or near embrace. This segued into a passionate seguiriya, performed by the male members of the company. They undertook unison sections with sheer dominance and control. The women then performed a merry alegria with bata de colas and shawls, kicking their trains with enormous gusto.

Well worth mentioning was the excellent musicianship throughout the evening. The singers' velvety voices washed over the audience like a richly aged Rioja, while the guitarists performed beautiful and haunting falsetas reminiscent of flamenco legend Ramón Montoya. Capping the evening in fine style was José Porcel in a solea por bulerías. The performer literally danced in the footlights and executed a riveting tacaneo to further entice the crowd.

Call it old-fashioned, but heavens praise the heart and genuine pleasure Porcel takes--and receives--with his art. ************************************************************
08/16/05

Review of Vivencias - Starring Antonio El Pipa and his Compañía

Barclay Theatre - Irvine California
Saturday, August 13, 2005 - 8:00 pm

Compañía Antonio El Pipa performed a stellar, traditional Jerezano-styled closing performance that proved the ‘classics’ never go out of style. This 11-member ensemble presented a heart-felt tribute to the memory of grandmother Tía Juana la del Pipa in Saturday night’s performance of "Vivencias".

The cante is the spirit of flamenco, and the dancer is the reincarnation of the song. In every way this came to fruition as Antonio El Pipa delivered in rare style, along with aunt Juana la del Pipa’s deep, raspy singing voice, great moments of feeling and sensitivity.

The staging was warm and friendly and reminiscent of the famed ‘patios’ of Jerez de la Frontera complete with wood crates, a table, benches and I want to imagine wine (but most likely water) flowing in abundance. Company members enticed us with spirited performances throughout the evening. ‘Guapa’ was shouted for the captivating principle dancer Maria José Franco whose movements easily transitioned from powerful to sensual. Along with singer Juana la del Pipa, noteworthy cante was provided by singers Manuel Tañé, Felipa del Moreno, and Joaquin Flores who also provided rousing jaleos throughout the evening.

Pipa’s passionate and soulfully performed siguirillas made the cante visible. Stormy taconeo punctuated the air with bursts of energy and élan that made the audience erupt into applause. He stands still, his hand, as if moving the bullfighter's cape, silences us. Fiery footwork patterns begin again each progressively louder and more expressive. All this and more, including the sensitive playing by guitarists Pascual de Lorca and Juan Moneo helped to complete a very personal conversation.

This showcase gave special tribute to the spirit of Tía Juana la del Pipa and a fitting punctuation to the Irvine Barclay’s themed festival “Tradicion y Familia”.

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08/12/05

New World Flamenco Festival Irvine, California presents: Tradicion y Familia

August 5 – 14, 2005

As reviewed by West Coast correspondent Beth Nesbitt

The Irvine Barclay Theatre and artistic director Yaelisa have again brought the best of Spain’s flamenco artistry to Southern California. The highly anticipated New World Flamenco Festival’s fourth season opened with a resounding force to sold-out crowds of appreciative viewers.

“LOS FARRUCOS”
The first of three companies to perform in the week long festival was the dynamic, and always surprising Sevilla-born Farruco family. This dancing dynasty included Rosario Montoya “La Farruca”, son Antonio Fernadez Montoya “Farruco”, and cousin Juan Antonio Fernandez “Barullo”. The opening alegrías were presented as a stormy taconeo (footwork) duet between the two cousins that was well received. The evening also featured an original ‘buleria galactica’ solo from Farruco, and a ‘soleá’ from Barullo. However, the highlight of the evening was La Farruca’s ‘romance’ solo which brought vivid spontaneity, and expression to her very personal style of flamenco dance.




Kudos to the extraordinary musicianship of guitarists Román Vicenti and El Perla; singers Jorge Rubio “El Canasterio”, José Valencia, and the phenomenal artistry of the Sevilla-born cantaor José Anillo .

“Y UNA BATITA DE COLA”
A rare gem! This was a superb demonstration of exciting, romantic and sultry flamenco dance. Each performer presented the highest level of artistic mastery pairing focused lyrical performances with exquisite choreography and musicianship.

Opening Tuesday night’s performance was a poetically beautiful guitar solo from Juan Requena. The warm space of the Barclay is perfect for Requena’s delicate, almost classical touch on the guitar. Jose Anillo continued with an ancient and mournful cante solo which left one breathless and wanting for more. Continuing with superb majestry was Anillo’s sister Encarno, a singer of great depth and beauty. Her letras includes phrases such as "God is sending me punishments" does it get any better than that. Hold on…

The program then segued into the nights first dance solo featuring Isabel Bayón appearing in a multi red bata de cola dancing a ‘bambera’. Her sinuous arms twisted behind her back and her sharp accented turns and fluid arm work thrilled the audience to heartfelt jaleos of encouragement. The dancing of Yolanda Heredia in an amazing ‘solea por buleria’ was flawless with precise 180 degree rotations, armwork, and intricate footwork embellishments. Her exquisite line and rhythmic fluidity was a thing of beauty.

Next, a joyful ‘tangos’ duet featuring Yolanda and Isabel. Due to a small accident dancer Concha Jareño could not perform, however, not a beat was missed. Ms. Bayón continued with a ‘seguirilla’ which was pure, raw, and gutsy. The perfect mix of brother and sister singers resounded throughout the entire nights performance. Encarna Aniilo sang with particular power and soulfulness. This paired with the impassioned playing of Requena and Barakaldo-born guitarist Jesus Torres weaved seamlessly throughout. For many the highlight of the evning was Ms. Heredia’s astounding and joyous ‘alegría’.


<----Glowing from the phenomenal success of "y una batita de cola"
(l to r) dancer Isabel Bayón, festival director Yaelisa, dancer Yolanda Heredia,
and the incredible cantaora Encarna Anillo. Look for the upcoming CD release
produced by Miguel Poveda!

The beautiful multi-colored and patterned flounces of her bata de cola paired perfectly with the dance. The fabric connected in geometrical patterns with the train releasing with each flick of her foot expressive energy and artfulness. All too soon the evening came to a close with a spirited ‘fin de fiesta’. Singers and guitarists moved closer to the audience for an exhilarating finale featuring both singers, and Encarna launching into an impromptu buleria which sent jaleos, and cries of “otra, otra from the audience.

Next up, Antonio “El Pipa” stay tuned…

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