HOME

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



Contact Beth:


*******************************************************
Flamenco Society of San Jose has a NEW website!



************************************************************
MAY 16 & 17, 2008
XVIII FERIA DE SEVILLA EN CALIFORNIA
SAL Y SOL DE ESPANA
POLICE OFFICER ASSOCIATION PARK, LONG BEACH, CA
email: andalus@wans.net for more information.
www.andaluza-usa.com

*******************************************************
Save the date!



New World Flamenco Festival VII ~ Gitaneando "being gypsy"

August 8 - 17, 2008 Barclay Theatre, Irvine, CA

********************************************************


*********************************************************
Please HELP Esencia Flamenca Dance Company!

Esencia Flamenca Dance Company is a registered 501c3 nonprofit organization based in Long Beach Ca. EFDC's mission is to promote the art of Flamenco dance and music in the communities of Southern California. We teach classes and workshops in Long Beach , hold shows on a regular basis , and also fundraise for other nonprofits that help the community. We are holding a fundraiser in order to raise funds for upcomping performances in Spring of 2008 and to open our own studio in 2008. We need to raise approximately $5000 dollars by Jan.

For the holidays you can help us raise some money by buying your holiday gifts for your friends and family at www.marykay.com/sarahparra ...

Between now and Nov 15th %25 of your purchase will go directly to Esencia Flamenca Dance Company. Free delivery in the Orange County and South Bay areas, gift wrapping is available at an extra charge.


Sarah Parra @ Esencia Flamenca Dance Company
sarahparra@1esencia.com
Please call 562.761.1618 if you have any questions! Thanks so much for your support

*****************************************************************
Saludos! FlamencoLA

Flamenco Dance and Music events in Los Angeles - to view postings, visit: FlamencoLA

********************************************************************


New World Flamenco Festival - Read the Show Reviews HERE!!!

**********************************************************
FLAMENCO ARTS FESTIVAL 2007 PRESENTS

Ballet Flamenco - JAVIER BARÓN in DOS VOCES PARA UN BAILE

The Flamenco Arts Festival, in celebration of Hispanic Heritage Month, is honored to present Javier Barón for one performance only on Saturday, September 29, 2007. In 2006, Barón won the Giradillo a la Maestria, the top award at the Bienal de Flamenco in Sevilla, and was highly praised by the Spanish media for his performance at the XI Festival de Jerez.

This prestigious recognition by the top two flamenco festivals in Spain places him among the most accomplished flamenco dancers currently working on the Spanish stage. Barón will perform in one of his newest productions, Dos Voces Para Un Baile accompanied by Javier Patino, Miguel Ortega, Juan Diego, El Choro, Ricardo Rivera, and Jose Valencia.

Call the Lobero Theatre Box Office at 805.963.0761

**********************************************************
Experience Flamenco Dance and Cante Classes With Rubina Valenzuela!

CLASSES BEGIN: Tuesday, June 26, 2007

CLASS TIMES: Beginners: 6:00 PM & Intermediate/Advanced: 7:00 PM

FEES: $100 per session if payment received before June 22, 2007, $115 per session thereafter, $18 per drop-in. Special discount: BOTH classes for only $175.

LEVELS: Introduction to Flamenco, Basic Flamenco, and Intermediate/Advanced Flamenco

LOCATION: Roundhill Studios - 3428 El Camino Real - Santa Clara, CA
(between Lawrence Exp. And Pomeroy Ave.)

CALL: 408.241.1193

REGISTRATION: Pleass mail payment to:
The Flamenco Society of San Jose
P. O. Box 7173
San Jose, CA. 95150
ph:(510)792-8355
fax:(510)792-8354
email: flamencos@earthlink.net

The Flamenco Society Dance Academy is proud to announce that Rubina Valenzuela will be teaching at the Roundhill Studios Tuesday sessions. Rubina has been dancing flamenco for over 30 years, and has studied with some of the greatest instructors in Spain: Concha Vargas, El Torombo, Angelita Vargas, Juana Amaya, and Pepa Montes. She has also performed for 4 years in one of the most traditional flamenco clubs in Seville, the “La Carboneria”.

For more information:
Website: www.flamencarubina.com
E-mail: flamencarubina@aol.com

******************************************************************
Mojácar Flamenco - new & ongoing Flamenco classes in South Pasadena & Los Angeles 2007

Katerina Tomás of Mojácar Flamenco offers exciting flamenco classes in 2007. All new and ongoing classes feature a new flamenco palo in 2007.

1st Location:
Ongoing, year round classes are located at Pointe by Pointe Dance Studio, 1315 Fair Oaks Avenue, Suite 104, South Pasadena, CA 91030

Cost; $15 per class, plus $3 for the guitarist each time. The 1 hour Saturday 3:30pm class is $12.50 per class. Cante (singing) accompaniment is provided in every class. If you are a new student, enroll at Pointe by Pointe Dance Studio by coming to class on Thursday Jan. 4 and/or Saturday, Jan. 6.

DAYS/TIMES for NEW and UPDATED CLASSES at POINTE by POINTE for the winter term, 2007

Thursdays - 7-8:30pm Beginning/Intermediate Flamenco (combination level class)Technique: braceo (arms) footwork, palmas, body postures, turns, rhythms for 12 count songs and Choreography: Alegrías. NEW Choreography in February: El Garrotin (con sombrero).

8:30-10pm Intermediate/Advanced Flamenco
Technique: Advanced rhythms, footwork, breaks (remates), turns, marcando (marking steps), and braceo. Choreography: through January 2007: Guajíras with the flamenco fan. NEW Choreography in February: Soleares

SATURDAYS

12:30-2pm Beginning Flamenco
Choreography and technique for Sevillanas w/castanets, and Tangos Gitano. Techniques: Bring castanets to this class!

2-3:30pm Intermediate/Advanced Flamenco
Advanced technique featuring turns, remates, footwork, palmas and rhythms. Choreography: through January 2007: Siguiriyas. Starting February 2007: Farruca/Tangos de Málaga

NEW CLASS ADDED!
3:30-4:30pm - Introduction to Flamenco - Flamenco from the basics - footwork, body work, arms, hands, palmas, rhythms. Choreography: Rumba Flamenca

2nd location:
FLAMENCO DANCE WORKSHOPS at LACC Community Services Building, 855 N. Vermont Avenue, L.A., CA 90027. To enroll in the LACC Community Services flamenco workshops, call them at 23-669-1031/1032.

1st session: Sundays, February 25-April 1st, 2007:

12:30-2pm - Beginning - Introduction to flamenco dance. Technique: arms, hands, postures, turns, rhythms, palmas, footwork, y mas! Te

chnique & Choreography rhythm: Tangos Gitano (NEW Choreography!) 2-3:30pm - Intermediate - Designed for student who have taken at least 1 year of flamenco dance. More advanced dance techniques. Technique rhythm: Soleares. Choreography: Bulerías de Jerez (NEW Choreography). This class develops skills in working with musicians and singers, and helps students learn to create their own choreography.

FEES: $65 per session per section, which includes the guitarist's fees and materials fees, payable to LACC Community Services. To enroll, call LACC at 323/669-1031/1032.

PRIVATE DANCE, CANTE, AND GUITAR CLASSES are available at our home studio in South Pasadena. For rates and information contact us via phone and check our website at www.mojacarflamenco.com for rates.

CONTACT: Mojácar Flamenco

CALL: 626.403.7489

LACC Flamenco classes start date is Sunday, May 20!

Join us at LACC Community Services for new Spanish and Flamenco dance and guitar classes, starting on Sunday, May 20 and continue until July 1st.

Location: LACC Community Services, 855 N. Vermont Avenue, Los Angeles (Chemistry Building basement-new location on campus) To enroll: Call LACC at 323/669-1031; specify whether you'll be enrolling in Beginning or Intermediate Flamenco

Spring LACC Flamenco Schedule:
Section 1: Beginning - 12:30-2pm - Learn the ancient and beautiful art of the Sevillanas Naturales and Sevillanas del Rocio. This is the a partner dance performed during the Féria de Abril in Spain after Easter, and as part of the huge pilgrimage in southern Spain later in May. We'll also watch a film about the sevillanas, and discuss the structure and history of the dance. (*No need to bring a partner to the sevillanas class, just show up!*) - We will also work on basic flamenco techniques - footwork, arms, hands, palmas, rhythms, jaleos y mas! (Tangos and Soleares rhythms for technique)

Section 2: Intermediate - 2-3:30pm - Learn the exciting and wonderful Soléa por bulerías (a NEW Choreography for this session) and Bulerías de Jerez. Learn to perform your own bulerías "en cuadro" with guitar and cante accompaniment! All singers and guitarists are welcome in this great dance class to learn how to accompany dancers.

Cost per section: $65 - for all six classes, all fees

For dance class information, contact Katerina Tomás. Contact Stephen Dick for guitar accompaniment information and participation. Check our website for these and information on our SOUTH PASADENA FLAMENCO GROUP and PRIVATE CLASSES at www.mojacarflamenco.com. Check out our new My Space page at www.myspace.com/mojcarflamenco.

*******************************************************************

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.”

*****************************************************************


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.

******************************************************


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.

*****************************************************
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

*****************************************************
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”.

************************************************************

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…

**********************************************************