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XHAS News
03/09/2014 11:50 PM
Nueva York, 10 mar (EFE).- Tarantas, milongas o soleás al servicio de la soledad hicieron el domingo al público neoyorquino ponerse en
pie con “Lluvia”, el espectáculo que la bailaora y coreógrafo Eva Yerbabuena ha entregado en el Flamenco Festival de Nueva York y en el
que encadena contemporaneidad, metaflamenco y pasión.
Después de presentar “Ay!” el sábado, Yerbabuena ofreció otra cara de su talento en el New York City Center con “Lluvia”, espectáculo
que le ha llevado de gira por todo el mundo, y en el que la teatralidad que nace “de un día gris de pura melancolía” emprende una batalla
contra el silencio que casa el flamenco con el teatro, el melodrama y la parodia.
“El silencio hace daño cuando es puro”, es el poema de Horacio Gracía que se lee en el escenario, y “la Yerbabuena” lo araña con su
punto fuerte, la apoteosis del taconeo, pero también lo viste de esas influencias que ha ido recogiendo desde que comenzó su carrera,
allá a finales de los 80.
Así, el comienzo con “El sin fin de la vida” la presentó a ella como una flor roja entre un campo humano gris y homogeneizado. Un muro,
una puerta y Eva Yerbabuena emergiendo de la platea para subir al escenario. Alfa y omega de este sentido espectáculo.
De Pina Bausch, quien le invitó en 2001 a participar en Wuppertal, en Alemania, aprendió a encontrar la belleza coreográfica de los
cuerpos imperfectos, y ese es el punto de partida de “Lluvia”, que se antoja en sus primeros minutos como una especie de guiño, en
versión distópica de su legendario “Café Muller”.
Y así, una vez que Yerbabuena (Frankfurt, 1970) cruzó la puerta de aquél muro con transparencias, se encendió el flamenco como grito
de dolor y esperanza a un mismo tiempo, en las voces de José Valencia, Enrique “El Extremeño” y Juan José Amador.
Una transición con el título de “Peldaño” y, por fin, la bailaora entregada a su arte en la taranta “Barro” arrancaron los primeros “olés” de la
platea.
A partir de ahí, el viaje melancólico se acelera y esa “Lluvia” emocional precipita con fuerza: desde la incomunicación sentimental que
atraviesa las maderas de una mesa en “Soledades”, uno de los momentos cumbres del espectáculo a ritmo de milonga, a la catarsis
sordomuda de baile contemporáneo llamada “Palabras rotas”.
En ella, Yerbabuena desaparece como bailaora y brilla como coreógrafa: da protagonismo a su cuerpo de baile, excelente, con Lorena
Franco y Mercedes de Córdoba jugando a los roles de género contra Christian Lozano y Eduardo Guerrero.
Eva Yerbabuena, tras esta vanguardista reinvención del quejío, reculó hacia la caricatura voluntaria de la feria de Cádiz, se enganchó la
rosa, la peineta y los faralaes y se dio al tanguillo de “La querendona”, dedicada a sus abuelos Concha y José, y al humor físico de “Lluvia
de sal”, alegrías de “triquititrán” clásico con un giro de autoparodia que, al final, fue pese a su ligereza lo que más animó a la audiencia.
Pero para cerrar con círculo coherente esta apuesta íntima, Yerbabuena se dejó el clímax total: la soléa “Llanto”, a ritmo de la
hermosísima “Se nos rompió el amor”, y con ella en solitario entregada a la bata de cola, al terciopelo negro y al arrebato desgarrador,
recordando que ninguna flor duró dos primaveras, pero que “la Yerbabuena” lleva ya dos décadas en lo más alto del baile flamenco.
Mateo Sancho Cardiel
1 de 1 14/04/14 14:20
BALLET TO THE PEOPLE
What we're saying...
Yerbabuena in the Rain
March 14, 2014
Leigh Donlan reports from Cal Performances at Zellerbach Hall,
Berkeley:
Eva Yerbabuena (Photo: Jose Luis Alvarez)
Eva Yerbabuena, the gypsy queen of the flamenco dance world, is in the process of renovating her art
form, as demonstrated by Lluvia (‘Rain’), Ballet Flamenco’s evening- length performance which
kicked off Cal Performances’ Focus on Flamenco series at Zellerbach Hall on Wednesday evening.
The evening’s strengths were in the solos. Yerbabuena is an outstanding performer who can carry a
show by herself if need be, and all her dancers held their own, particularly Eduardo Guerrero, whose
footwork drew gasps from the audience, though we unfortunately had to wait until the end of the show
to see him unleash his true powers.
The musicians and vocalists were superb, and Antonio Coronel (drums) and Paco Jarana (classical
guitar) in particular played exquisitely. But it wasn’t clear where Yerbabuena wanted to take us,
possibly because she’s still figuring it out. The program notes indicate that Lluvia was “born on a gray
day of pure melancholy” and that in it, she is trying to explore her beginnings. The first half of the
program was devoted to experiments with movement, occasionally fused with traditional
flamenco, that often fell flat in the ensemble work, not due to dancing but to choreography that was
stiff and unrevealing. The most memorable movement was the exalted cambré, a motif repeated by the
four dancers (Lorena Franco, Mercedes de Cordoba, Christian Lozano and Guerrero) where they
arched their backs over a plié in parallel, with arms reaching up towards the heavens. The yearning was
clear, if all else was vague.
But by the second half of the show, all reserve was gone and we were treated to many of Yerbabuena’s
spellbinding solos. Oh, the stories her feet tell, of rolling thunder, a chirping of a bird, even a firing
squad; her percussions are outstanding. The evening closed with her solo piece Llanto (‘Crying’.) The
heartbreaking vocals of Jose Valencia, Enrique “El extremeño,” and Juan Jose Amador told tales of
family, loss and love as she anguishes alone in her dance, wearing a traditional bata de cola, a dress
with a long train that she elegantly manipulated about her ankles like an anchor. Her hands were birds
one moment and trembled into fists the next as her feet began to fire, releasing an eternal fury upon the
stage floor. This was Eva Yerbabuena at her best, fearless and unstoppable.
Israel Galván – La Curva – New York | DanceTabs http://dancetabs.com/2014/03/israel-galvan-la-curva-new-york/
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By Marina Harss on March 15, 2014 in Reviews · 3 Comments
DanceTabs Contributors
Regular contributors...
Aimee Tsao | Alan Helms | Christina Gallea Roy |
Dave Morgan | Foteini Christofilopoulou |
Graham Watts | Jane Simpson | Jann Parry |
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Israel Galván in La Curva.
© Kevin Yatarola. (Click image for larger version)
About author Israel Galván
La Curva
Marina Part of Flamenco Festival USA 2014
Harss New York, Michael Schimmel Center for the Arts
14 March 2014
Website Marina Harss overview of the Festival in NY Times
www.facebook.com/IsraelGlv
Work for DanceTabs www.flamencofestival.org
Reviews on Balletco schimmel.pace.edu
Marina Harss is a free-lance Fils Prodigue
dance writer and translator
in New York. Her dance Toward the end of Israel Galván’s solo show La Curva, the flamenco singer Inés
writing has appeared in the Bacán – as solid and immutable as a rocky bluff – groans out a song, “Los Ejes
New Yorker, The Nation, de mi Carreta.” “It’s too boring, going on and on, following the track in the
Playbill, The Faster Times, road, with no-one to keep you entertained,” she moans. It’s not a Spanish
DanceView, The Forward, cante but a song by the Argentine folk-singer Atahualpa Yupanqui, a rural
Pointe, and Ballet Review. lament for a lonely man with nowhere to go.
Her translations, which
include Irène Némirovsky’s
“The Mirador,” Dino
Buzzati’s “Poem Strip,” and
Pasolini’s “Stories from the
City of God” have been
published by FSG, Other
Press, and New York
Review Books. You can
check her updates on
Twitter at: @MarinaHarss
1 de 5 15/04/14 13:52
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Israel Galván in La Curva. Andrew Blackmore 18h
© Kevin Yatarola. (Click image for larger version) @BlackmoreAndy
Like the narrator in the song, Galván, who is in New York as part of the Piedmont roots music? Check! Twyla Tharp?
Flamenco Festival, is bored with the beaten path, hospitable as it may be to his Check! Ballet dancers? Check! @MarinaHarss at
talents. His show is in many ways a kind of conversation with the history of her best? Hellz yeah!
flamenco, whose rhythms, attitudes and technique course through his veins. dancetabs.com/2014/04/twyla-…
Both his parents are flamenco dancers, as is his sister, but it’s not a mantle he
carries lightly. “I want people to see me as something disgusting,” he said to Retweeted by DanceTabs
an interviewer back in 2002. Over the course of La Curva he turns himself into
a kind of defiant jester, even a grotesque figure out of Hieronymus Bosch or Expand
Kafka, head covered by his jacket, body crouched, legs skittering across the
stage. Karen Backstein 19h
@KarenatashaB
But no matter what he does, Galván can’t hide his technique, the speed with
which his feet move, the clarity and articulation of every gesture and pose. His Loved this! Thanx for the xtra info “@MarinaHarss:
body is like a cubist deconstruction of the human form, all angles and planes. Twyla Tharp goes country with Carolina Chocolate
His fingers and wrists can be as rigid as hammers or as florid as Moorish Drops at BAM: dancetabs.com/2014/04/twyla-…”
arabesques. He can move a single foot with more acceleration and subtlety
than most flamenco dancers can manage with two. His pivots are so swift, they Retweeted by DanceTabs
create an audible wind. And he is just as precise and free when he moves
backwards, with reckless speed. Unlike most flamenco dancers, whose Expand
movements dig deeply into the floor, Galván springs into the air like a coil, legs
split, spinning, or feet beating in the air. DanceTabs 15h
@DanceTabs
IfUMissed... GALLERY: Les Ballets de Monte-Carlo,
@BalletsMonteCar, in LAC - a modern Swan Lake.
Pics by @zxdavem: flickr.com/photos/danceta…
Show Summary
DanceTabs 21h
@DanceTabs
"Remember, you’re superhuman" Twyla Tharp's
advice to dancers.
From this @MarinaHarss piece re @BAM_Brooklyn
show: dancetabs.com/2014/04/twyla-…
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GALLERY: Korean National Ballet (@KN_BALLET)
in Swan Lake. Pictures by/© @danceinkorea:
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But gave it 4*s MT @theballetbag: “There is sense
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Israel Galván in La Curva.
© Kevin Yatarola. (Click image for larger version)
In La Curva, he is pulled between two worlds: the European avant-garde,
represented by the pianist and improviser Sylvie Courvoisier, who attacks,
plucks, jabs, and caresses her ebony instrument on the left side of the stage.
Courvoisier’s wide-ranging soliloquies bear traces of Debussy, John Cage,
Keith Jarrett, and bebop. There is even a long quotation of The Rite of Spring,
an homage to Galván’s Modernist sources of inspiration: Cubism, the Futurists,
the flamenco experimentalist Vicente Escudero. And on the right, at a plain
wooden table, sit Inés Bacán with her potent, uncompromising voice, and El
Bobote, a low-key palmero who beats rhythms with his hands. Galván zigzags
between them, sitting at the table with his flamenco family – at times they seem
to be re-enacting Cézanne’s “Card Players” – then stealing away to share the
piano bench with Courvoisier. Mainly, he navigates the space between them,
skittering across the stage in bursts of movement or sitting, expressionless, at
a midpoint in a metal chair – his own personal no-mans-land.
Israel Galván in La Curva.
© Kevin Yatarola. (Click image for larger version)
For the most part, when Bacán sings, Galván is still. She hardly moves, and her
style of singing is plain, unadorned, archaic. (Her singing makes one
particularly aware of flamenco’s Arab influences.) Though the two hardly
acknowledge each other, the connection between them is strong; she is the
last person onstage, and twice he puts his hand on her shoulder. They are two
of a kind. But when Courvoisier plays, the synapses in Galván’s mind seem to
whizz into gear. They converse through the medium of sputtering, splintering
rhythm, just as Galván communicates with Bobote in a language of tapping
and rapping. At times Galván’s entire body dissolves into a fusillade of
rhythms, the air crackling with salvos of footwork, vocalizations, tongue-
clicking and the flickering of his fingers against his jacket, thighs, teeth, shoes.
3 de 5 15/04/14 13:52
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He also makes endless jokes, holding his arms like a bow and arrow or
creating a flamingo shape with his body – one leg bent at the knee – as he
says, “dirty flamingo.” He does a distorted rumba, hips jutting grotesquely, and
bourrées like a ballerina. Repeatedly, he hails a taxi – a joke I don’t quite
understand. The humor can be bitter, too, as when he wears a chair around his
neck, which makes him look like he’s being pilloried. If it all sounds a little bit
schizophrenic, it is. The evening suffers from a lack of continuity and an
uncompromising quality that flirts with tedium. It’s one experiment after
another. There is no doubt regarding Galván’s brilliance as a dancer, but La
Curva is a bit like a night of free jazz: dazzling but difficult to follow.
Tags: Atahualpa Yupanqui, Debussy, El Bobote, Flamenco Festival USA, Hieronymus Bosch,
Ines Bacan, Israel Galvan, John Cage, Kafka, Keith Jarrett, La Curva, Michael Schimmel
Center for the Arts, New York, Sylvie Courvoisier, The Rite of Spring, Vicente Escudero
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Legend, Miss Julie - Paris
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By Marina Harss on March 7, 2014 in Reviews · 1 Comments
DanceTabs Contributors
Regular contributors...
Aimee Tsao | Alan Helms | Christina Gallea Roy |
Dave Morgan | Foteini Christofilopoulou |
Graham Watts | Jane Simpson | Jann Parry |
Jarkko Lehmus | Jordan Beth Vincent |
Juliet Burnett | Laura Cappelle | Lise Smith |
Lucy Ribchester | Lynette Halewood |
Margaret Willis | Marina Harss | Michelle Potter |
Natasha Rogai | Oksana Khadarina |
Paul Arrowsmith | Sunkyung Reina Jang |
Bruce Marriott (Ed)
The above list is composed of those who have generally
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Contributors and more info
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Gala Flamenca dancers.
© Yi-Chun Wu, coutesy of The Esplanade Co Ltd. (Click image for larger version)
About author Flamenco Festival USA 2014
Gala Flamenca with Antonio Canales, Carlos Rodríguez, Karime Amaya,
Marina Jesus Carmona
Harss New York, City Center
6 March 2014
Website Marina Harss overview of the Festival in NY Times
www.flamencofestival.org
Work for DanceTabs www.nycitycenter.org
Reviews on Balletco
Hay Duende!
Marina Harss is a free-lance
dance writer and translator The choreographer Mark Morris has said that he decided he wanted to become
in New York. Her dance a dancer when, as a kid, he saw a performance by the flamenco powerhouse
writing has appeared in the José Greco. I could well imagine a boy (or a girl) having a similar reaction after
New Yorker, The Nation, seeing Jesús Carmona dance at the Gala Flamenca on the opening night of the
Playbill, The Faster Times, Flamenco Festival here in New York. Explosive and witty footwork intersected
DanceView, The Forward, with careening spins and unexpected changes of meter and direction. His
Pointe, and Ballet Review. dancing was full of flash, bluster, and sheer fun. He appears to have everything
Her translations, which in excess: energy, charm, rhythmic panache, high spirits, and, when it’s called
include Irène Némirovsky’s for, elegance of line. He creates strikingly beautiful shapes with his arms and
“The Mirador,” Dino hands, without ever coming across as preening. And he skirts danger, pushing
Buzzati’s “Poem Strip,” and himself off-balance until you’re sure he’ll lose control. Even when he’s on the
Pasolini’s “Stories from the sidelines, egging on his fellow dancers, he seems to clap twice as fast,
City of God” have been laughing and smiling and spilling over with joy.
published by FSG, Other
Press, and New York
Review Books. You can
check her updates on
Twitter at: @MarinaHarss
Share this article
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IfUMissed... GALLERY: @TheRoyalBallet in
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DanceTabs 14h
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Andrew Blackmore 18h
@BlackmoreAndy
Jesus Carmona. Piedmont roots music? Check! Twyla Tharp?
© Marcos Domingo. (Click image for larger version) Check! Ballet dancers? Check! @MarinaHarss at
her best? Hellz yeah!
Carmona was one of four headliners – along with Antonio Canales, Karime dancetabs.com/2014/04/twyla-…
Amaya, and Carlos Rodríguez – to perform at the gala, directed by the
choreographer Ángel Rojas. They were backed by an excellent band: three Retweeted by DanceTabs
singers (I particularly liked Ismael de la Rosa’s mellow, almost spoken sound),
two guitarists (Paco Cruz and Daniel Jurado), and a percussionist (Miguel El Expand
Cheyenne). If only the amplification of the voices had not been quite so loud –
at times, all nuance was lost and the singing was reduced to a kind of frantic Karen Backstein 19h
bellowing. A few of the arrangements also included a violin, played by Roman @KarenatashaB
Gottwald; it was surprisingly well integrated, adding a plaintive tone, almost
like a whiff of tango. There were also two back-up dancers for the ensemble Loved this! Thanx for the xtra info “@MarinaHarss:
numbers, Lucía Campillo and Carmen Coy. Twyla Tharp goes country with Carolina Chocolate
Drops at BAM: dancetabs.com/2014/04/twyla-…”
Retweeted by DanceTabs
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IfUMissed... GALLERY: Les Ballets de Monte-Carlo,
@BalletsMonteCar, in LAC - a modern Swan Lake.
Pics by @zxdavem: flickr.com/photos/danceta…
Show Summary
DanceTabs 21h
@DanceTabs
"Remember, you’re superhuman" Twyla Tharp's
advice to dancers.
From this @MarinaHarss piece re @BAM_Brooklyn
show: dancetabs.com/2014/04/twyla-…
Expand
DanceTabs 23h
@DanceTabs
GALLERY: Korean National Ballet (@KN_BALLET)
in Swan Lake. Pictures by/© @danceinkorea:
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@DanceTabs
But gave it 4*s MT @theballetbag: “There is sense
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Karime Amaya. 15/04/14 13:51
© NY City Center. (Click image for larger version)
Canales, now in his fifties, gave a performance that was one part technique –
no-one can stomp with the force of Canales – and three parts personality. He
dominated the stage with his solid frame, improbably bronze hair, white shoes,
and flashing, trickster eyes. He doesn’t do a zillion pirouettes the way the
young guys do – it was a real pirouette-fest tonight – but who cares, Canales
knows how to put on a show. Halfway through the evening, he came out in a
long knitted cloak, looking like the famous Rodin sculpture of Balzac, and
growled out a poem, “Me lo Contaron Ayer,” by Rafael de León. “Te has
casado, buena suerte,” he snarled to a former lover: “so you got married –
good luck to you.” But remember, “yo soy quien más te ha querido” – no-one
has loved you as I have. I doubt the youngsters could have delivered the line
with half Canales’s panache.
This ushered in one of the high points of the evening, the only moment the
entire ensemble, all the dancers and singers, appeared onstage at once.
Canales, the patriarch, danced in the center of the group, entering into a
conversation with each of the singers in turn. One of them cried out, “hay
duende!” – the spirit is present. Everyone else clapped or played along. One of
the most appealing – and unique – aspects of flamenco is that it is a social act
as much as an art form. The dancers and musicians perform for each other; the
stage becomes a kind of family gathering, and the feeling spills out into the
audience. The theatre was full of Spaniards, yelling out “ole” and counting out
the music’s complicated meters. Tonight, we were all part of the family.
3 de 5
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Antonio Canales.
© Yi-Chun Wu, coutesy of The Esplanade Co Ltd. (Click image for larger version)
Carlos Rodríguez, a more classically-trained dancer who performed with the
Ballet Teatro Español before starting Nuevo Ballet Español with Ángel Rojas,
did a highly-choreographed soleá por bulerías (mid-tempo, serious, but not too
serious). His dancing is super-polished and clean, with perhaps the fastest and
most precise zapateado of the night. His gestures are stylized, and he does a
mean multiple pirouette. But his dancing lacks excitement or build, and the
emotions – scowling looks, hand to brow – seem put on rather than organic.
His dancing, though impressive, comes across as a series of effects.
As the only featured woman in the show, it fell to Karime Amaya to provide the
requisite note of seriousness and introspection to the evening. She danced the
closing siguiriya in a gorgeous, close-fitting black dress decorated with giant
appliquéd flowers. She is a tall, imposing figure with sculptural arms and a
stern, face that makes her look older than her twenty-nine years. Her
background is gypsy – in fact, she is the grand-niece of Carmen Amaya, a
flamenco legend. Amaya dances like someone not to be trifled with; her
footwork is powerful, almost masculine in its force. Her twisting turns,
quebradas, are fast and sharp. Her siguiriya took time to build and was not as
searing as some – it didn’t come close to one of Soledad Barrios’s solos – but
it had a kind of contained, austere beauty. I suspect she’s capable of more.
In any case, the night belonged to the boys: Canales the veteran showman and
Carmona the irrepressible scamp. I wouldn’t be surprised if he came back with
a show of his own one of these days.
You can see Carmona in an Alegrías here.
Tags: Angel Rojas, Antonio Canales, Ballet Teatro Espanol, Carlos Rodríguez, Carmen Amaya,
Carmen Coy, City Center, Daniel Jurado, Flamenco Festival USA, Gala Flamenca, Jesus
Carmona, Jose Greco, Karime Amaya, Lucia Campillo, Mark Morris, Miguel El Cheyenne,
New York, Nuevo Ballet Espanol, Paco Cruz, Rodin, Roman Gottwald, Soledad Barrios
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Miguel Poveda - In Concert - Gallery – Angel Munoz in From
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White to Black
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American Ballet Kings of the Dance /
Theatre – Drink, Ardani Artists
Cruel World, Management – New
Stars/Stripes, York
Rodeo, Pavane,
Upper Room – New
4 de 5 15/04/14 13:51
Vancouver International Dance Festival bridges continents, cultures http://www.vancouversun.com/story_print.html?id=9582363&sponsor=true
Vancouver International Dance Festival bridges true
continents, cultures
BY YVONNE ZACHARIAS, VANCOUVER SUN MARCH 5, 2014
Cutting-edge flamenco dancer Israel Galvan will highlight the 14th Annual Vancouver International Dance Festival. Photo
courtesy of FelixVazquez.
Vancouver International Dance Festival
March 7 to 29 | Various venues
Tickets and info: vidf.ca
Cutting-edge flamenco dancer Israel Galvan has been called revolutionary and, quite simply, a genius.
Describing him as “a percussive machine all by himself,” the New York Times has showered accolades
on the avant-garde dancer from Seville, Spain, that are almost as florid as the dance itself.
Little wonder then that Barbara Bourget and Jay Hirabayashi, curators of the 14th annual Vancouver
International Dance Festival, are thrilled to have the artist debut in the city as part of this year’s festival
lineup.
The pair first saw Galvan in 2007 at the Montpellier Dance Festival in France. The risk-taking dancer
wowed them.
===
CLICK HERE TO VIEW MORE PHOTOS, or tap and swipe the image on your mobile device.
===
While remaining true to the parameters of the flamboyant and shamelessly passionate dance, Galvan
contemporizes flamenco, pushing it into a new realm, says Bourget.
Known for complex and rapid-fire footwork punctuated by moments of stillness and silence, he puts his
own signature on the age-old dance.
Hirabayashi recalled seeing him at a spring dance festival in the Netherlands where he danced in a
100-seat theatre with no accompaniment.
“Just his hands clapping were the only percussive thing apart from his feet and he danced both with
1 de 3 10/04/14 15:33
Vancouver International Dance Festival bridges continents, cultures http://www.vancouversun.com/story_print.html?id=9582363&sponsor=true
shoes on and barefoot,” Hirabayashi recalled. “He danced in sand and on metal plates. It was just an
astonishing display of virtuosity.”
While this demonstrates the dancer’s innovative nature, Vancouver audiences can expect something
bracingly different when he appears here. Like a magician pulling new tricks out of his bag, Galvan is a
man of surprises. His risk-taking grows each time he presents a new work.
This we do know: He will perform La Edad de Oro with cantor David Lagos and guitarist Alfredo Lagos.
The work’s title translates as “The Golden Age,” referring to a period beginning in the late 1800s and
running until the 1930s. Historians of the form generally hold that this era represented a peak for
flamenco.
But you can expect Galvan to apply his own contemporary aesthetic, dancing the “golden age” as
though it were a new era.
Flamenco is often a conversation between the singer, guitar player and dancer so we’ll see where this
one goes.
Galvan’s appearance is very much in keeping with the eclectic nature of the festival from March 7 to 29
that brings dancers from around the globe to the Vancouver Playhouse and the Roundhouse
Performance Centre.
From flamenco, which conjures images of hedonism, to Asian performers portraying Buddhist
metaphors that conjure opposite images of asceticism, this festival truly brings the varied world of
dance to Vancouver’s doorstep.
The stages will swirl with flights of fancy, perhaps epitomized by Montreal Danse and Creations Estelle
Clareton’s performance of S’envoler which means to fly. As you might have guessed, this will
incorporate the notion of birds whose migration exemplifies courage and strength.
Then there is a performance of Cadenza — Die Stadt im Klavier V from a Berlin-based group. You
might think this would have German overtones but think again. It is performed by the Japanese
dancer/pianist duo and longtime collaborators Yui Kawaguchi and Aki Takase.
“It’s quirky, it’s light,” said Bourget.
===
CLICK HERE TO VIEW MORE PHOTOS, or tap and swipe the image on your mobile device.
===
Performing a work of art is a complex challenge for one dance company, let alone two which live an
ocean apart. Tapping into Vancouver’s Asian culture, the Guangdong Modern Dance Company, China’s
first professional modern dance company, will pick up the gauntlet together with Vancouver’s Goh
Ballet to perform Mustard Seed, which refers to a Buddhist metaphor in which a grain as tiny as a
mustard seed can reveal the wonders of the universe. In addition, the two troupes will individually
perform select pieces from their repertoires
Part of the festival’s magic is the way it builds a bridge between foreign dancers and local dance
companies like the 605 Collective, Dancers Dancing, Modus Operandi and Kokoro Dance which will
take part.
Adding a bringing-dance-to-the-people element, the festival will feature free shows at Lonsdale Quay in
North Vancouver March 2, at the Woodward’s atrium March 9 and at the Roundhouse turntable plaza
March 16.
In many ways, the festival asks the public, just like the dancers, to take a leap of faith, a plunge into the
unknown by attending a performance with which they might be completely unfamiliar.
Above all, said Bourget, this festival “feeds the dance bug in everybody.”
[email protected]
2 de 3 10/04/14 15:33
Univision San DiegoTradición y vanguardia en la Gala Flamenca de Nueva York » ... http://www.univisionsandiego.com/2014/03/06/tradicion-y-vanguardia-en-la-gala-fl...
03/06/2014 10:29 PM
Actualizada: 03/06/2014 10:30 PM
Nueva York, 7 mar (EFE).- Como perfecta apertura para el Flamenco Festival de Nueva York y un menú degustación que recorre sin
dejar cabos sueltos lo que ha sido, es y va a ser el género, la Gala Flamenca deslumbró esta noche en el New York City Center con
Antonio Canales como padrino, y con Carlos Rodríguez, Karime Amaya y Jesús Carmona de estrellas solistas.
Un juego de claroscuros arrancó el espectáculo dirigido por Ángel Rojas y fue presentando a la compañía. El sonido, perfecto. La
iluminación, magistral. Y entre luces y sombras emergió el baile y sonó el taconeo. El puzzle de “Cantes”, pieza a pieza, construyó el
tablao que empieza a enloquecer a la platea.
El Flamenco Festival comienza su duodécimo año y ya es un viejo amigo de la Gran Manzana. No necesita presentación, pero aun
así se presentó y avasalló por su sangre renovada, con las raíces bien hundidas en la tradición, pero entregando sus flores a todo aquél
que quiera recibirlas.
La sabia nueva del madrileño Carlos Rodríguez con su apasionado soliloquio de taconeos maridados con ronde de jamba de su sólida
formación clásica en “Soleá por bullirías” (Siento) encendió al público.
O la del catalán Jesús Carmona, uno de los bailaores más brillantes de su generación, que junto a Lucía Campillo estableció un
hipnótico juego de turnos, simetrías y diálogos en”TrillA7 (paso a dos)”, un número de rabiosa contemporaneidad que enamoró
irremisiblemente.
Pero la Gala Flamenca, preparaba el terreno para recibir con honores a su alma mater, Antonio Canales, que iluminó el escenario con
los recursos del veterano: la teatralidad y la esencia flamenca. La rabia, el despecho, pero también la guasa y el descaro. Primero
habla de “Modernidad” y luego se rinde al sentimiento colectivo, a los “Tangos de la chumbera”.
Las voces corrieron a cargo de Antonio Campos, Ismael de la Rosa y Rocío Bazán, esta última presencia recurrente en este festival,
pues también estará en la representación flamenca de “El Amor Brujo”, de Falla, y dará un recital en el Instituto Cervantes, y que se
animó también a marcarse sus pasos en “Señora”.
Finalmente, la sangre de los Amaya, de la mismísima Carmen de “Los Tarantos”, resurgió con su sobrina-nieta, Karime Amaya, que
con bata de cola y abanico se ajustó a los cánones de la bailaora en “Caracoles”, junto a Lucía Campillo y Carmen Coy y luego,
ya en solitario, lució piernas y taconeo con una furia, la picardía y el arte que solo se macera en las grandes familias con la
“Seguiriya”.
Con la peineta disparada y un despliegue de energía que sonaba al clímax de la representación, solo quedó tras ella el fin de fiesta,
con toda la familia, no de sangre, sino de raza flamenca, sobre el escenario, incluyendo a las inefables guitarras de Paco Cruz y
Daniel Jurado o el violín de Roman Gottwald.
Una vez más, el público en pie, y la certeza de que, si no fuera por su proverbial itinerancia, el arte gitano encontraría en Nueva
York un lugar en el que quedarse.
26 11 6 10 8
Inspiring Innovative LOL Amazing Geeky
Noticias Relacionadas
:: Las distintas soledades de Eva Yerbabuena en "Lluvia" triunfan en Nueva York :: Estrella Morente, del luto a la celebración en el
Carnegie Hall :: Nueva York abre sus auditorios para lo mejor del flamenco mundial
Etiquetas
FESTIVAL FLAMENCO
2 de 5 10/04/14 15:24
Tomatito's Stunning Flamenco Display : San Francisco Classical Voice https://www.sfcv.org/reviews/omni-foundation-for-the-performing-arts/tomatitos-stu...
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March 12, 2014
Tomatito's Stunning Flamenco Display
OMNI FOUNDATION FOR THE PERFORMING ARTS (/EVENTS-CALENDAR/ORGANIZATION-PROFILES
/OMNI-FOUNDATION-FOR-THE-PERFORMING-ARTS)
BY SCOTT CMIEL (/AUTHOR/SCOTT-CMIEL)
The Omni Foundation for the Tomatito
Performing Arts presents one of the
world’s foremost guitar series. The
primary focus is on classical guitar, but
it also does an outstanding job of
showing the breadth of the guitar’s
appeal, including programs by
superlative flamenco, jazz, and
world-music guitarists. On Wednesday
at the Palace of Fine Arts Theater, in
partnership with the Flamenco Society
of San Jose, Omni presented Tomatito
and his Flamenco Sextet in a stunning
display of the depth, power, and variety
of contemporary flamenco.
José Fernandez Torres, known as Tomatito, is one of today’s most-admired
flamenco guitarists, known for his mastery of traditional rhythms, his classic
work with singer Camarón de la Isla, and his pioneering efforts in establishing
Nuevo flamenco by augmenting traditional flamenco with music influenced by
classical, jazz, blues, rock, pop, bossa-nova, tango, or fado. His program gained
depth by being dedicated to the memory of Tomatito’s friend and mentor Paco
de Lucía, arguably the most influential flamenco guitarist of the modern era, who
died unexpectedly just last month.
Tomatito is an enormously charismatic musician who entered the hall with a regal
bearing, modestly gracious and yet unsurprised by the adulation expressed by a
large audience that showed its appreciation before the first note was played.
Tomatito began to play, as a soloist, an introspective, melancholy, and
rhythmically free Rondeña. After he drew the audience in with his understated
magic, the members of his sextet gradually joined him, with second and third
guitars playing rasgueo, the complex strumming patterns that characterize
flamenco guitar; other members performing palmas, or syncopated clapping
patterns that add rhythmic vitality to the music; and all members of the ensemble
and even audience members adding jaleo, or words of encouragement for the
performers, sometimes spoken, often shouted.
Flamenco has a long and complex
history with ancient roots. Tomatito is
much loved both as an embodiment of Omni presented Tomatito
its deep traditions and as a leader in and his Flamenco Sextet in a
contemporary developments in the stunning display of the
form. Like American blues, flamenco
began as the music of poor people, so depth, power, and variety of
its emergence is poorly documented. It contemporary flamenco.
has been traced to the 15th-century
arrival in Spain of Gypsies whose
musical traditions blended with those
of Christians, Arabs, and Jews to create unique forms, modes, and rhythms. In
the late 19th century the music became popular in cafes throughout Spain,
launching a great debate about the depth of the original music and the loss
alleged as the music changed and became more widely popularized.
In 1922 composer Manuel de Falla and poet Federico García Lorca organized El
Concurso del Cante Jondo (Contest of the Deep Song) to celebrate and promote
the depth of traditional flamenco. Although it began a steady rise in the status of
traditional flamenco among Spain’s cultural and intellectual leaders, a shallower,
more tourist-oriented version continued to dominate the field. In post-Franco
Spain, an appreciation for the more-profound traditional flamenco, embodied by
artists like Antonio Mairena and Nino Ricardo, was combined with an openness to
influences from jazz and world music. Artists such as singer Camarón de la Isla
and guitarist Paco de Lucía embodied these trends and created today’s Nuevo
flamenco; as a young man, Tomatito worked closely with both of them and is
today flamenco’s most-prominent guitarist.
Tomatito’s sextet, featuring two Tomatito is much loved both
singers, two guitarists, a
percussionist, and a dancer, is an
1 de 2 10/04/14 15:15
Tomatito's Stunning Flamenco Display : San Francisco Classical Voice https://www.sfcv.org/reviews/omni-foundation-for-the-performing-arts/tomatitos-stu...
accomplished and flexible ensemble as an embodiment of deep
able to project a complex range of traditions and as a leader in
feeling in a widely varied program. contemporary developments
They gave skillful performances of
traditional flamenco forms, including a
joyful Alegrias, a powerfully rhythmic in the form.
Bulerias, and a soulful and
show-stopping Solea. Jazz influences
infused the performances of Two Much by pianist Michel Camilo and Our Spain
by great bassist Charlie Haden and lent a complex flavor to Tango Argentino and
Rumba.
Each selection featured Tomatito’s outstanding solo performance, while many
included vocals by Kiki Cortiñas and Simón Román, always accompanied by the
fantastic rhythmic pulse of the sextet. Twice, the spotlight shifted to Paloma
Fantova, the group’s featured dancer. Briefly near the beginning of the concert
and in an extended 10-minute solo in the concluding Solea, Fantova amazed the
eyes and melted the hearts of the audience with her movement, by turns fluid,
graceful, fiery, and brilliant.
In the encore, Tomatito graciously gave each member of the ensemble time to
shine; they included El Cristi and José del Tomate on guitars, Moisés Santiago on
cajon, and vocalists Kiki Cortiñas and Simón Román.
Scott Cmiel (http://www.sfcv.org/author/scott-cmiel) is Chair of the guitar and
musicianship departments at the San Francisco Conservatory of Music
Preparatory Division and Director of the guitar program at San Francisco School
of the Arts.
2 de 2 10/04/14 15:15
Tomatito recordará en JazzFest el legado de De Lucía, "un virtuoso tímido" - NotiCel™ http://www.noticel.com/noticia/156466/tomatito-recordara-en-jazzfest-el-legado-de-d...
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Tomatito recordará en JazzFest el legado de De Lucía,
"un virtuoso tímido"
Por: Rita Portela López
Publicado: 27/02/2014 06:27 am
El productor del Puerto Rico Heineken Jazz Fest, Luis
Álvarez, confirmó que se recordará el legado del
guitarrista Paco de Lucía con la intervención en la 24
edición del evento de uno de sus discípulos, Tomatito.
En la imagen, el virtuoso de la guitarra Paco de Lucía
quien falleció el miércoles pasado. (EFE/Archivo)
Se trata del cierre del sábado 22, a cargo del también guitarrista flamenco, que estudió bajo la tutela NotiCel en las redes sociales
del fenecido músico.
“Me parece una triste coincidencia, pues por la noticia de la muerte de Paco, pero podremos Seguir a @noticel 67.3K seguidores
recordarlo esa noche con uno de sus estudiantes más anegados que sigue echando su legado hacia Me gusta A 177 922 personas les gusta esto. Sé el
delante”, recalcó Álvarez al tiempo que especificó que el evento tendrá lugar del 10 al 23 de marzo
en el Anfiteatro Tito Puente. primero de tus amigos.
El empresario recordó a De Lucía como un “virtuoso tímido, pero exigente cuando de su música se Repórtalo ver más▸
trataba”. “Era una persona sencilla que nunca quiso limosinas ni suites durante su estadía en Puerto
Rico”, añadió el productor al anotar que la última presentación del fenecido artista fue en el 2012
como parte del Jazz Fest que se le dedicó q Abraham Laboriel.
De hecho enfatizó en que los puertorriqueños “somos privilegiados” de haber podido ver en su Cobran el Ivu y no te lo No dan el Ivuloto
mejor momento a De Lucía. dan
Comentó que tras la presentación del guitarrista español en el país se reunieron en la casa del No dan Ivuloto Accidente
productor para departir de temas variados. Entre los invitados estaba la esposa e hijos de Paco, así
como Rubén Blades y varios allegados. “Nos sentamos a hablar de música y salsa, porque a Paco
le gustaba mucho la música de El Gran Combo y otros temas de política y sociedad. Era un virtuoso
en todo el sentido de la palabra y nos duele su partida”.
En un parte de prensa Tomatito, cuyo nombre de pila es José Fernández Torres, expresó que “no Tuiterías
puedo encontrar las palabras para describir lo que siento desde que escuché lo de la muerte de
Paco. Sé que estas palabras serán compartidas por todos los artistas y seguidores del flamenco
que lo conocieron. El trabajo de Paco definió el flamenco como un arte. Él logró que la guitarra se
convirtiera en un instrumento de entendimiento universal. Gracias a su entrega otros intérpretes e
incluso yo mismo podemos compartir música hoy en día alrededor del globo”.
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herencia de $18,000 a una sencillo en Billboards jazz y premios
familia dividida Latinos
1 de 2 10/04/14 15:13
Tomatito carries on after death of flamenco 'father' - SFGate http://www.sfgate.com/default/article/Tomatito-carries-on-after-death-of-flamenco-5...
Tomatito carries on after death of flamenco 'father'
Aidin Vaziri
Updated 7:53 am, Wednesday, March 12, 2014
The great Spanish flamenco guitarist José Fernández Torres, known as Tomatito, was talking on a recent afternoon about his mentor,
Paco de Lucía. "All flamenco guitarists learned from his beautiful music and technique," he said through a translator. "He is our father."
Tomatito didn't know at the time that just a week later he would be one of the pallbearers at de Lucía's funeral, after the 66-year-old
virtuoso died of a heart attack while on vacation with his family in Mexico.
The news must have been devastating. De Lucía not only opened doors for multiple proteges by making flamenco music palatable for
audiences worldwide but also had a direct hand in Tomatito's career, discovering him as a child prodigy and mentoring him through his
formative years.
De Lucía's influence will no doubt be apparent when Tomatito makes a rare West Coast appearance Wednesday at the Palace of Fine Arts,
part of a mini Spanish flamenco festival that also features performances at Berkeley's Zellerbach Hall by the dancer Eva Yerbabuena on
Wednesday and vocalist Estrella Morente on Friday.
Tomatito has won several Latin Grammy Awards for his bold playing style, which over six solo albums and multiple collaborations has
stretched the traditional Gypsy flamenco template with elements of jazz and funk. His latest is called "Soy Flamenco," which translates to
"I Am Flamenco."
"There's nothing profound about it," he said. "It's just what I am. I've done a lot of different music styles, but my real love is flamenco."
Born into a musical family in Almería, Spain, he was given the nickname "little tomato" after his grandfather and father - both guitar
players, both called Tomate. His uncle was the famed guitarist Niño Miguel.
Tomatito started his own career when he was 12 years old, alternating between solo work and a lucrative creative partnership with the
vocalist Camarón de la Isla that lasted nearly two decades.
"That was one of the best times of my life," Tomatito said.
Following Camarón's death in 1992, Tomatito set off on a collaboration with the pianist Michel Camilo. Their album "Spain," released in
2000, received a Grammy Award for best Latin jazz recording and saw them playing at festivals around the world.
For the upcoming concert in San Francisco, Tomatito will be accompanied by a sextet of musicians and dancer Paloma Fantova.
"I'm very happy to come there, very excited," he said. "I just want to give everything that I can to the audience."
Tomatito and His Flamenco Sextet: 7:30 p.m. Wednesday (March 12). $45-$65. Palace of Fine Arts, 3301 Lyon St., S.F. (415)
242-4500. www.omniconcerts.com.
Aidin Vaziri is The San Francisco Chronicle's pop music critic. E-mail: [email protected] Twitter: @MusicSF
© 2014 Hearst Communications, Inc.
1 de 2 10/04/14 15:11
Tomatito and His Flamenco Guitar at the Rose Theater - NYTimes.com http://www.nytimes.com/2014/03/18/arts/music/tomatito-and-his-flemenco-guitar-at-...
http://nyti.ms/1g3AK60
MUSIC | MUSIC REVIEW
Flamenco Proves Contagious for the Ear and for the Eye
Tomatito and His Flamenco Guitar at the Rose Theater
By BEN RATLIFF MARCH 17, 2014
1 de 2 If you put any faith in the notion of mirror neurons with regard to listening — the theory that an empathic
region of your brain can make you experience the neural impulse to play the notes that you are hearing
someone else play — then you may have been very interested in Tomatito’s performance at Rose Theater
on Saturday night.
Tomatito is the most eminent guitarist in flamenco, especially since the death of Paco de Lucía three
weeks ago. For American audiences, he is often on the bill with other eminences. He first came to
prominence as a teenager, playing with the singer Camarón de la Isla; his last two appearances in New
York were alongside the singer Enrique Morente, in 2005, and the pianist Michel Camilo in 2006. But he’s
now on a North American solo tour, and on Saturday, he sat in the middle of a seven-unit semicircle: two
singers; two other guitarists (including José del Tomate, his son); one percussionist, who mostly played
the wood-box cajón; and one dancer.
He began the concert alone with slow-gathering lines phrased outside of a steady rhythmic unit. The
music of this first few minutes, generally speaking, was dark, alert and resonant with his thumb hitting the
lower strings, letting them resound and roar against the chords. Gradually, the supporting guitars and the
palmas, the clapping accompaniment, entered the picture, establishing the rhythm. And in these first few
minutes — from nearly the first second and as he moved from no-rhythm to rhythm — Tomatito played
with such clean intent that it was possible for you to feel the energy and gesture and contrast in those
individual notes and phrases as if you were playing them yourself.
Theories aside, I don’t think all musicians accomplish anything like this. Even a good one might
manage it only in flashes. But Tomatito, from Spain, has managed it in its extended, almost continuous
state: If we can talk in terms of neurons firing, and if we can imagine the firings as lights going on, I felt
myself lighting up for minutes at a time. (One of the few sustained power losses, however, was basically a
crossover move: a version of Mr. Camilo’s soft-pop ballad “Two Much.” )
What gave the performance this effect? A possible explanation is that all Tomatito’s playing implies a
sure command of traditional flamenco rhythm, so sure that he can get outside it without losing it. And
when he gets outside it, he disrupts constantly, with strong percussive, exclamatory strums, accents on
what sounded like upbeats, with sudden runs and minor fadings of energy for effect, and control and
evenness all around. He creates texture, basically, in mysterious but decisive acts, within a recognizable
frame.
Paloma Fantova, the dancer, joined in the palmas, and at several places, she arose. She stiffened first
and walked to center stage headlong, then slowed down but pushed forward with iron purpose, as if
entering a wind tunnel, before she unfolded and imposed strength and will within a three-foot perimeter.
Those entrances were special; they were almost enough. But her escobilla sequence in the concert’s second
half, when the focus shifted to her own heel-stamping improvisations against the steady pulse, seemed to
pick up from Tomatito’s language of decisive phrases and silences. They created, in a few places, a similar
effect on the brain.
10/04/14 13:37
The Bay Area's Flamenco Convergence: Performance | KQED Public Media for Nor... http://www.kqed.org/arts/performance/article.jsp?essid=134666
EVENT
The Bay Area's Flamenco Convergence
By Andrew Gilbert | Mar 10, 2014
In the best of times flamenco is an impassioned outburst, a revelatory fusion of music and dance that
embodies Andalusian Gypsies' suffering, joy and cussed refusal to submit quietly to fate. But with the
unexpected loss of legendary guitarist Paco de Lucía last month at the age of 66, the wave of flamenco
performances breaking across the Bay Area in the coming weeks will undoubtedly contain even more
roiling emotion than usual.
Eva Yerbabuena Northern California audiences have come to expect regular exposure to Spain's greatest flamenco
artists, but the array of talent coming through the region is beyond anything in recent memory. Cal
Performances starts things off at Zellerbach Hall with Focus On Flamenco, a series featuring two
international stars: Ballet Flamenco Eva Yerbabuena on Wednesday, March 12, 2014 followed on
Friday, March 14 by the breathtaking vocalist Estrella Morente (that's her voice pouring out of
Penelope Cruz's mouth as she delivers the titular song of Pedro Almadovar's 2006 film Volver).
I expect De Lucía's name will be invoked at least once at Zellerbach, but his spirit will be palpable
Wednesday at the Palace of the Fine Arts Theater, where De Lucía's protégé, colleague and one-time rival Tomatito makes his
long-overdue San Francisco debut. In many ways the concert's timing feels eerily propitious. De Lucía had already radically realigned
flamenco through his jazz-steeped work as a solo artist and accompanying supremely influential vocalist Camarón de la Isla when he
became a crossover star, collaborating with jazz guitar shredders.
The crowning moment came at the Warfield on Dec. 5, 1980 when De Lucía, John McLaughlin and Al Di Meola recorded the hugely
popular live album Friday Night In San Francisco, which made De Lucía a revered figure among guitarheads who didn't know flamenco
from a flamingo.
Tomatito, who's touring with a sextet featuring rising young musicians and dancer Paloma Fantova, has followed in De Lucía's footsteps.
Born José Fernández Torres in Almerí, he was discovered by De Lucía as a young teenager, and was still in his teens in the mid-1970s
when Camarón de la Isla hired him to replace De Lucía. He toured and recorded with the beloved singer until his death from lung cancer
at 41 in 1992. He first made an indelible mark with his debut on Camarón's classic 1979 album La Leyenda del Tiempo, a brilliantly
idiosyncratic project that broke with flamenco tradition in terms of instrumentation and production but remained rooted in the
hardscrabble Andalusian soil, with many lyrics drawn from Garcia Lorca.
"At the time I thought it was risky," said Tomatito, 55, in Spanish, speaking from New Mexico at the start of his North American tour. "I
didn't like it. Camarón had the electric bass and more pop and rock instruments. He said people would understand the record in 20
years."
1 de 4 14/04/14 14:07
The Bay Area's Flamenco Convergence: Performance | KQED Public Media for Nor... http://www.kqed.org/arts/performance/article.jsp?essid=134666
Photo: Olga Holguin
Since Camarón's death, Tomatito has established himself as one of flamenco's greatest guitarists. He's won a series of Grammys and
Latin Grammys, while collaborating with numerous jazz artists like Dominican pianist Michel Camilo, with whom he won a Grammy
for the 2000 album Spain. He credits De Lucía with sparking his interest in jazz.
"When Paco De Lucía started playing with Chick Corea, Al Di Meola and John McLaughlin, that influenced all the younger musicians
from his school," Tomatito said. "That was the beginning of it."
De Lucía's legacy will also be in the foreground at Bay Area Flamenco's April 6 program at Brava Theater, an event that pairs an all-star
ensemble with the Bay Area premiere of Andrea Zapata Girau's hour-long music documentary Guitarra de Palo. The live performance
includes the great Spanish flautist and long-time De Lucía collaborator Jorge Pardo, New York trumpeter and percussionist Jerry
Gonzalez, a Latin jazz pioneer who led the great Fort Apache band, Israel "El Piraña" Suárez, a maestro of the box-like cajon, who
worked extensively with De Lucía and now tours with Buika, bass master Javier Colina, and guitarist Raimundo Amador.
"Raimundo is a Gypsy from Sevilla and hails from an important clan," says Nina Menendez, the founder and artistic director of Bay
Area Flamenco, the organization that presents the annual Bay Area Flamenco Festival. "The great pianist Diego Amador is his brother.
He grew up in the community playing straight ahead flamenco, but they fell in love with B.B. King and that whole blues/rock thing in
the sixties, when they were young teenagers. He does this amazing fusion of flamenco and blues."
While major arts presenters like Cal Performances and SFJAZZ play an important role showcasing top flamenco artists, over the past
decade no one has done more to build bridges between Andalusia and the Bay Area than Menendez (who's a fine flamenco singer
herself, and the daughter of the storied jazz/blues vocalist Barbara Dane). She's busy planning the ninth edition of the Bay Area
Flamenco Festival in June, when she'll present the incandescent Farruquito Dance Company at Zellerbach, but before then she's bringing
the legendary singer and dancer Miguel Funi to Berkeley's La Peña Cultural Center on April 12, and Santa Cruz's Kuumbwa Jazz Center
on April 13.
Though flamenco has lost its greatest international star with the death of De Lucía, the art form is as vital as ever, with strong roots and
ongoing cross-pollinations that end up enriching and expanding the ancient tradition.
Cal Performances' Focus on Flamenco starts Wednesday, March 12 at Zellerbach Hall, UC Berkeley. For tickets and information visit
calperfs.berkeley.edu. Tomatito and his Flamenco Sextet peform Wednesday, March 12 at San Francisco's Palace of Fine Arts. For
tickets and information visit omniconcerts.com. To learn more about the upcoming Bay Area Flamenco Festival in June, 2014, visit
bayareaflamenco.org.
More on Performance
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Music & Clubs » Music Reviews March 26, 2014
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SMF Review: Tomatito
by Jim Morekis
[email protected]
@jimmorekis
The Savannah Music Festival scored a major coup when it Latest in Music Reviews
brought the legendary godfather of Flamenco guitar,
Paco de Lucia, to the Johnny Mercer Theatre in 2012. SMF Review: Bombino,
Fatoumata Diawara
The great de Lucia passed away just last month, but one He played what looked
of his protégés and collaborators, Jose Fernandez Torres like a regular electric
– aka Tomatito – did a masterful job keeping his guitar, but played it in a
mentor’s spirit alive this past Thursday at the Lucas for way that made it
opening night of this year’s Festival. unrecognizable: soft,
pulsing, percussive, with
Like the de Lucia show, this performance echoed the an occasional hint of a
usual no-intermission Flamenco/Gypsy style stage classic rock sound.
presentation: several black-clad players seated in a
semi-circle around the virtuoso main guitarist, including Apr 2, 2014
a pair of singers, a percussionist on the cajon, a couple
of rhythm guitarists, and of course a dancer (more on her SMF Review: Asif Ali
later). Khan
The goal was to bring
Almost always beginning with an extended solo lead-in the divine to earth
from Tomatito – age 55 but looking much younger, a full through the passion of
head of long curly black locks – each sinuous, sexy song music, especially
built on the previous one, amping up the intensity level singing, and to build
to a predictably transcendental climax. emotion and ecstasy
through rhythm and
repetition.
Mar 26, 2014
SMF Review: Ricky
Skaggs
The hands-down
highlight was a full-tilt
bluegrass version of
Bruce Hornsby's “The
Way It Is.”
Mar 26, 2014
More »
The intricate, mutable, overlapping time signatures of
Flamenco – 6/8, 3/4, 12/8, 4/4 and more, often
switching on a moment’s notice, as with jazz – added to
the hypnotic effect, a preternatural vibe emphasized by
the passionate, almost primal vocal stylings of dual
singers Kiki Cortiñas and Simón Román, who, in
Flamenco style, seem to wring up every imaginable
human emotion from deep within their bodies.
If de Lucia’s playing was known for its lightning speed,
silky smoothness, and angelically lyric phrasing,
Tomatito’s styling is more rock ‘n’ roll – a greater
emphasis on rhythm and more clearly defined notes, with
1 de 5 10/04/14 15:41
SMF Review: Tomatito | Music Reviews | Connect Savannah - Savannah, Georgia n... http://www.connectsavannah.com/savannah/smf-review-tomatito/Content?oid=2367...
phrasing that’s less adventurous but still strongly
compelling in its own right.
Amid the frequent “oles” to each other on stage,
Tomatito only spoke to the audience three times, briefly,
and only in Spanish. One was thanking Savannah for the
warm welcome, and another was a tribute to Paco de
Lucia while introducing one of de Lucia’s pieces,
performed with emotion and aplomb.
I’m pleased to report that, unlike some Music Fest
Flamenco shows of past years, the audience at the Lucas
seemed fully prepared for the aural and emotional
intensity of the show – Flamenco being one of the most
viscerally earthy folk genres and quite different from the
watered-down, sterilized, and generic Western pop
culture most of us are used to.
Indeed, judging by the many enthusiastic shouted
encouragements from the audience and their obvious
understanding of Tomatito's stage patter en espanol,
there was quite a large number of Spanish speakers in
attendance – surely a welcome first for me in years of
observing Music Fest shows and audiences.
As is often the case with Flamenco shows, the audience
really comes alive when the dancer is taken by the spirit
and steps onto the hardwood performance floor in their boots – or in this case,
heels. Flamenco dancing is typically a mostly male pursuit, but Tomatito’s
concerts feature the fiery, dramatic, and aggressive dancing of young Paloma
Fantova.
While only dancing twice all night – the first appearance being teasingly short –
Fantova closed the show and brought the house down with a nearly 20-minute
tour-de-force of hard-soft, fast-slow percussive dynamics: twirling, stomping,
tapping, and snapping, in a mostly improvised performance responding to the
building drive of the full band and Tomatito’s guitar.
While dancing Fantova wears a serious, almost grim visage, fitting the drama of
the music. But as she finishes and basks in the audience’s applause, her face
lights up in a grin more befitting her young age.
In all, a hard Festival opener to top!
Tags: Music Reviews, Savannah Music Festival, Tomatito, Paco de Lucia
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The goal was to bring the divine to earth through the passion of music, especially singing, and to
build emotion and ecstasy through rhythm and repetition.
Mar 26, 2014
2 de 5 10/04/14 15:41
Se luce en Nueva York Tomatito, heredero natural de Paco de Lucía - NotiCel™ http://www.noticel.com/noticia/157387/se-luce-en-nueva-york-tomatito-heredero-nat...
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Se luce en Nueva York Tomatito, heredero natural de
Paco de Lucía
Por: EFE El guitarrista flamenco conocido como Tomatito se
presentará con su sexteto en la noche del sábado 22
Publicado: 16/03/2014 01:16 pm de marzo en el Puerto Rico Heineken JazzFest 2014
en el Anfiteatro Tito Puente. (Archivo/EFE)
Nueva York - Heredero natural de Paco de Lucía, José
Fernández Torres, más conocido como Tomatito, reinó
junto a su sexteto en uno de los templos del jazz de
Nueva York, el Rose Theater del Lincoln Center, y ofreció
un recital en el que, desde la humildad, desglosó todas
las posibilidades de una guitarra.
Tomatito no pudo evitar empezar honrando a su maestro. NotiCel en las redes sociales
"Es el mejor guitarrista de la historia, de atrás y de 'alante'", había dicho a Efe en una entrevista Seguir a @noticel 67.3K seguidores
minutos antes del concierto. "Paco de Lucía ha abierto las puertas del mundo para nosotros y ha Me gusta A 177 922 personas les gusta esto. Sé el
inventado una forma de tocar. Cuando me dicen que ha fallecido y me parece que no es verdad",
aseguró. primero de tus amigos.
"Two Much / Love Theme", que grabó para su álbum "Spain" junto a Michel Camilo como homenaje Repórtalo ver más▸
a De Lucía, fue la canción que le puso en contacto con un público que se entregó a su magia y la de
lo que él llama su "familia", esto es, el sexteto que forman sus compañeros de guitarra (José del No dan el Ivuloto
Tomate y El Cristi), Moisés Santiago en el cajón y la batería, Kiki Coriñas y Simón Román en el cante
y Paloma Fantova en el baile.
Coló acordes de "Entre dos aguas" pero, conforme avanzaba el recital, empezó a contradecir sus Cobran el Ivu y no te lo
modestas palabras, pues los niveles de virtuosismo, su manera de desglosar las posibilidades de un dan
mástil y seis cuerdas, le acercaron al olimpo flamenco al que pertenece De Lucía.
Tomatito era uno de los platos fuertes del Festival Flamenco a su paso por Nueva York. Llegaba de No dan Ivuloto Accidente
Cleveland y destacó del público estadounidense "que es 'calmaíta' y respetuosa". Raro es oír un
"olé" o contagiar unas palmas. Pero en este país, en cambio, siente que hay un vínculo común con
otro género musical tan de las barras y las estrellas como es el jazz.
"El soul, que luego fue el jazz, como el flamenco, es música que sale de la verdad, del pueblo, de la Tuiterías
tierra. No es una música colona. Viene de la tradición, de la marginación. Los negros, como los
gitanos, estaban sufriendo en la fragua", aseguró.
El guitarrista, que aprendió en la calle y que reivindicó esa escuela como la más completa que
cualquier academia homologada ("ahora, desafortunadamente, aprenden en YouTube", dice), no
sólo ha secundado a Camarón y a Paco de Lucía, sino que lo ha hecho con Frank Sinatra y ha
ganado un César por la música que compuso para Tony Gatlif en "Vengo".
"Los que somos un poco más jóvenes que los grandes maestros Camarón y Paco, tenemos la
suerte de que el flamenco dejó de ser algo raro. Yo he podido gracias a ellos tocar en el 'Blue Note'
(en Nueva York) y que viniera a verme mi ídolo, George Benson", recordó.
En el concierto se dio pronto a las alegrías, aunque también filtró notas de tango y de bolero.
1 de 3 10/04/14 14:56
Se luce en Nueva York Tomatito, heredero natural de Paco de Lucía - NotiCel™ http://www.noticel.com/noticia/157387/se-luce-en-nueva-york-tomatito-heredero-nat...
"Toco un poco de todo", dijo quien todavía disfruta desgranando los temas de su último disco en Alerta Progresista 7m
directo, "Soy Flamenco", omega hasta ahora de una discografía cuyo alfa se llamó "Rosas del @aprogresista
amor", allá por 1987. #ElCostoDelELA:
Tomatito, en el escenario, se ganó con el sudor de su frente ser la cabeza de cartel, pero cedió @pnp_pr @CamaraPNP @SenadoPNP
espacio para su equipo, hasta dejarse en segundo plano en beneficio de la bailaora Paloma pic.twitter.com/dWAD4ircWZ
Fantova, que puso al público en pie con su frenético taconeo, que casi incendió el escenario
ocasionalmente convertido en tablao.
"El baile tiene los zapatos y el vestido. El cante es el instrumento natural que te da la vida, la voz
que llega directa al corazón. Pero con la guitarra tienes que creértelo. Tienes que pasar del corazón
a la madera y las manos", resumió.
Esta noche en Nueva York ("cómo suena decir que estás en Nueva York, siempre suena bien",
reconoció) consiguió sin duda que el sentimiento llegara a la platea, que se puso en pie para investir
al gran heredero de las mejores guitarras flamencas.
Tomatito se presentará con su sexteto en la noche del sábado 22 de marzo en el Puerto Rico
Heineken JazzFest 2014 en el Anfiteatro Tito Puente.
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2 de 3 10/04/14 14:56
Rocío Molina and La Tremendita in Flamenco Festival - NYTimes.com http://www.nytimes.com/2014/03/25/arts/dance/rocio-molina-and-la-tremendita-in-f...
http://nyti.ms/1gT5dhJ
DANCE | DANCE REVIEW
Playing With Boundaries
Rocío Molina and La Tremendita in Flamenco Festival
By SIOBHAN BURKE MARCH 24, 2014
Flamenco dancers rarely perform without live music. A solo dancer surrounded by singers, guitarists and
percussionists — flirtatious interchanges flaring up, various members of the clan staking out or ceding the
spotlight — is a familiar image. That dancer-musician banter is a pleasure of the form.
But the synergy between the dancer Rocío Molina and the singer Rosario Guerrero, known as La
Tremendita is unlike anything I’ve witnessed in my (albeit limited) flamenco-going experience: stranger,
stronger, more affectionate and more electric. On Thursday at the Baryshnikov Arts Center, as part of
Flamenco Festival 2014, these two prodigious performers, joined by the bassist Pablo Martín, offered the
United States premiere of their collaborative “Afectos,” with choreography by Ms. Molina and original
music by Mr. Martín and La Tremendita. (Her real last name, which means warrior, is as fitting as her
stage name.)
Ms. Molina — who, at 30, is part of a boundary-pushing generation of flamenco artists — has a
compact, voluptuous physique that you might call feminine and a plump, round face that, at first glance,
looks cute. But one of her striking qualities (aside from lush technique, magnetic presence and
extraordinary command of rhythm) is her ability to play up that conventional femininity or absolutely
shatter it, sometimes in the same instant.
She can be demure one moment, luxuriating in an upper-spine arch, and terrifying the next,
unleashing a barrage of steps that seem to come from many bodies, not one. Her creaturely hands suggest
pleading or punishing, grasping or giving up. There are no traditional, full-skirted flamenco dresses in her
wardrobe (most of which hangs from a coat rack and, after several onstage costume changes, lies strewn
on the floor), but there is a trench coat and a red bolero jacket, the kind more often worn by male dancers.
La Tremendita, with her oceanic voice, is less capricious, not a chameleon so much as an unshakable
force. Their intimacy is at once friendly, familial and romantic, their choices so inventive that you
sometimes forget you’re watching flamenco. Ms. Molina removes La Tremendita’s white sweater and
replaces it with an orange jacket; La Tremendita taps on the dancer’s back or reels her in by one wrist. Mr.
Martín is more peripheral, spatially, but integral musically, mixing their clapping, stamping and wailing
with his double bass into a resonant score.
“Afectos” is not without its superfluous flourishes, like the wavering lights in the final section, as Ms.
Molina feigns falling into a deep sleep. More fascinating here is her decision to forgo footwork, leaving us
with the image of her vinelike arms.
Seventy minutes felt like barely enough time with these artists. “No quiero que tu te vayas,” La
Tremendita sings to her partner at one point. (“I don’t want you to go.”) I could completely relate.
A version of this review appears in print on March 25, 2014, on page C6 of the New York edition with the headline: Playing With
Boundaries.
© 2014 The New York Times Company 10/04/14 14:52
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By Marina Harss on March 23, 2014 in Reviews · 1 Comments
Rocio Molina in Afectos. DanceTabs Contributors
© Anna Lee Campbell. (Click image for larger version)
Regular contributors...
About author Rocio Molina
Afectos Aimee Tsao | Alan Helms | Christina Gallea Roy |
Marina Part of Flamenco Festival USA 2014 Dave Morgan | Foteini Christofilopoulou |
Harss New York, Baryshnikov Arts Center Graham Watts | Jane Simpson | Jann Parry |
21 March 2014 Jarkko Lehmus | Jordan Beth Vincent |
Website www.rociomolina.net Juliet Burnett | Laura Cappelle | Lise Smith |
www.bacnyc.org Lucy Ribchester | Lynette Halewood |
Work for DanceTabs www.flamencofestival.org Margaret Willis | Marina Harss | Michelle Potter |
Reviews on Balletco Marina Harss overview of the Festival in NY Times Natasha Rogai | Oksana Khadarina |
Paul Arrowsmith | Sunkyung Reina Jang |
Marina Harss is a free-lance Free to Be Bruce Marriott (Ed)
dance writer and translator
in New York. Her dance If there’s one overriding impression left by Rocío Molina’s intimate evening The above list is composed of those who have generally
writing has appeared in the Afectos it’s the general eschewing of flamenco clichés. Molina does what she contributed in the last 6 months. Complete list of DanceTabs
New Yorker, The Nation, likes and is indebted to no-one. Compact, unpredictable and elfin, she seems Contributors and more info
Playbill, The Faster Times, to dance for her own pleasure and that of her collaborators, the singer Rosario
DanceView, The Forward, “La Tremendita” and double-bassist Pablo Martín. They in turn seem DanceTabs Tweets
Pointe, and Ballet Review. fascinated by her. Afectos is a trio that feels like a three-way conversation, with
Her translations, which Molina as its most volatile, eccentric participant, basking in the protective
include Irène Némirovsky’s embrace of two indulgent co-conspirators. (Pablo Martín, on double-bass,
“The Mirador,” Dino watches her with benevolent amazement; the relationship with Rosario “La
Buzzati’s “Poem Strip,” and Tremendita” is more complex.)
Pasolini’s “Stories from the
City of God” have been
published by FSG, Other
Press, and New York
Review Books. You can
check her updates on
Twitter at: @MarinaHarss
Share this article
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Rocio Molina and Rosario “La Tremendita” in Afectos. DanceTabs 3h
© Anna Lee Campbell. (Click image for larger version) @DanceTabs
On paper, the evening is divided into five sections – Íntimo, En Ti Mi Pulso, Sal IfUMissed... REVIEW: @nycballet in #Jewels
y Ponte Dama Hermosa, Café con Ron, and Afectos – but the effect is more @kencen. Oksana Khadarina is happy + great pix:
fluid, with each new song introducing a shift in mood. The set is simple: an dancetabs.com/2014/04/new-yo…
armchair to the left, a rocking chair and clothes tree (for costume changes) in
the back, and the double bass on the right. Molina treats the stage like a DanceTabs 5h
private, almost domestic space, changing her top layer of clothes several times @DanceTabs
over the course of the show, or sitting on the rocking chair to listen to La
Tremendita sing in her throbbing, hoarse voice. She wears none of the Hurrah, a premiere: Tonight @TheRoyalBallet's new
traditional flamenco garb, replacing it with a whimsical bohemian look: loose full evening The Winter's Tale, by Wheeldon, gets
tunics, beautiful red shoes, a floor-length cloak that billows as she moves, and performance 1. Chukkas All! #ballet
finally, a black body-stocking that reveals every detail of her pliant technique.
La Tremendita, in turn, melds the intensity of flamenco with the quieter, more Expand
confessional style of chanson. Unlike most cantaores, she doesn’t really project
but rather brings the audience in, turning the almost epic prehistoric themes of Rosie Neave 6 Apr
cante into her own private dramas. @rosieneave
For a long time Molina listens; she cradles a guitar, twists her body around it as Good to see @kasperholten standing up &
if to conjure its sound. Then, on a whim, she gets up and begins to dance. The challenging misconceptions. More arts leaders
first thing one is taken by is the soft curves of her compact frame, the pliancy should do it gu.com/p/3z6ze/tw #WN2014"
of her spine, shoulder, and hip. She dances with a fluency that belies her
conservatory training – she is a graduate of the Royal Conservatory of Dance in Retweeted by DanceTabs
Madrid – which allows her to combine the techniques of flamenco with the
fluidity of modern dance to create her own idiom. Rather than water things Show Summary
down, she personalizes them, combining complex and excitingly subtle
footwork with rolling hips and shoulders, sudden and searing quebrada turns DanceTabs 15h
with quicksilver movements of her arms and hands that seem to paint the air @DanceTabs
around her. Often, as she dances, she clicks her tongue. Contrasting moods
and ideas wash over her face: an ugly scowl, or a look of surprise that makes "In many ways, Jewels is Balanchine’s
her eyes gleam, or a crocodile-like smile. She’s an impish performer. At one choreographic resume...", Oksana Khadarina
point, before walking off, she strides over to the double bass and strums a reviews @nycballet @kencen:
chord, like an impudent child. dancetabs.com/2014/04/new-yo…
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DanceTabs 15h
@DanceTabs
IfUMissed... "Steven McRae (@_stevenmcrae)
Dancer in the Fast Lane" - New Book incl loads of
@andreuspenski pics:
dancetabs.com/2014/04/the-ro…
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DanceTabs 17h
@DanceTabs
The secret of my own elegance 4 sure.. RT
@Sch_Mercedes "Simplicity is the keynote of all
true elegance"- Coco Chanel
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Israel Galván – La Curva – New York
Rocio Molina in Afectos.
© Anna Lee Campbell. (Click image for larger version)
Much of Afectos seems to center on Molina’s relationship with La Tremendita –
the two have worked together for years. Molina addresses many of her dances
to the singer, as if seeking her approval and protection. Halfway through, she
sits on a stool with La Tremendita behind her, almost concealed within her
embrace. As both women clap out rhythms, they become almost one being,
with Molina’s rapping feet at the base and La Tremendita’s expressive face at
the summit. Throughout the show, they tell secrets, whisper in each other’s
ears. At the beginning of the nursery-rhyme-like “Chiribi Chiribi,” they share a
private joke. “En el baile, nadie me gana,” Molina quips, cheekily, (“in dancing,
no-one is better than me”), to which La Tremendita replies, “y en el cante,
nadie me gana.” They’re two of a kind. In “Café con Ron,” a playful, sensual
guajira, Molina joins in the music-making, and also offers her own body – her
belly, her shoulder – as a sounding board for the singer, who raps out rhythms
on her skin.
In fact, at times the circle formed by the two women can feel too closed, too
self-referential. The atmosphere of mutual discovery wears thin at times; at 85
minutes with no intermission, the show is a good ten minutes too long, and by
the end, at the Baryshnikov Arts Center, there was a slow drip of defections.
Because of its episodic structure, the energy ebbs and flows too nonchalantly,
without the euphoric highs of flamenco. Molina’s dance interludes begin to
blend together, more in mood than in execution. And the beginning and ending
of the evening are somewhat precious, with Molina mostly listening and
emoting. At the end, as La Tremendita croons “no puedo ser feliz” (I can’t be
happy), Molina sits, staring out with a melancholy moue, digging her hands
under her arms or flickering her fingers like spiders. The energy generated in
the previous section dissipates. It is the one clichéd moment of the show, and
it’s a shame, because Molina is a curious and fascinating performer, one I
would gladly see again.
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Home / Music / Review: Estrella Morente Brings Stellar, Eclectic Program to Royce Hall
Review: Estrella Morente Brings Stellar, Eclectic
Program to Royce Hall
By Humberto Capiro on March 17, 2014 @HumbertoCapiro
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The history of flamenco dates back to 1774 when it began to appear in literature. It has roots in the
music from the autonomous community of Andalusia and the Romani (Gypsies) people of Spain.
Its format usually involves singers, guitarists, dancers and the iconic sound of hand clapping. The
United Nations Educational, Scientific and Cultural Organization (UNESCO) declared flamenco one
of the “Oral and Intangible Heritage of Humanity” in 2010.
Royce Hall has been witness to many incredible flamenco programs throughout the years, from the
explosive female dancer Sara Baras of the “Nuevo Flamenco” movement to the “Flamenco Gitano”
(gypsy flamenco) style of Los Farrucos family, both of which I attended.
A large majority of the artists in this art form come from family traditions, such as Estrella Morente –
who is the daughter the late iconic flamenco singer Enrique Morente and Aurora Carbonell “La
Pelota” from the Carbonell family dynasty of Madrid.
Born Estrella de la Aurora Morente Carbonell (August 14, 1980), she began performing with her
father at age 7 and made her first recording “Mi Cante Y Un Poema” (My Songs and A Poem) which
was followed by “Calle del Aire” both in 2001. Her third release “Mujeres” (Women) was produced
by her father in 2006 and her latest “Autorretrato” was finished just prior to his passing in 2010 and
includes collaborations with Pat Metheny, Michael Nyman and the late flamenco guitar master Paco
1 de 5 10/04/14 15:45
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de Lucia.
Morente was also the voice behind Penelepe Cruz’s flamenco songs in Pedro Almodovar’s film
Volver (2006) and she played herself and sang in the animated film Chico & Rita (2010) directed by
Fernando Trueba and Javier Mariscal.
On Sunday evening, the stage of Royce Hall at the UCLA campus was graced by this young
flamenco star and many of her immediate family in an eclectic, mostly sung flamenco program that
had fusions of jazz, blues, boleros and other world beats.
At age 33, Morente has over 25 years in the entertainment world under her belt and it showed, as
she appeared bathed in blue light while her powerful voice shook the walls of this iconic venue in a
way that I have seldom heard. She is an “old soul” musically speaking, with a voice and artistic
integrity that gave the audience an early glimpse into the soul of the national music of Spain.
“Pregon A Las Moras” was written by Morente & Michael Nyman, but it felt centuries old and her
interpretation set the tone for the rest of the evening.
Addressing the audience, she thanked everyone and UCLA for the opportunity perform in an
academic setting given than her late father was adamant about showcasing the art of flamenco in
higher education. This was followed by renditions of “Requiem,” “La Habanera Imposible” and
“Tangos Toreros,” all tracks from her latest release Autorretrato.
Joined onstage by many of her immediate family members, from cousins, uncles and younger
brother, this was a family affair at its best. On guitars were uncle Jose Carbonell Serrano
“Montoyita,” his son of the same name “Monti,” another uncle Enrique Carbonell (clapping, chorus),
her younger brother Enrique Morente Carbonell “Kiki” (clapping, chorus) with Angel (clapping,
chorus) and Pedro Gabarre “Popo” (percussion), who I’m sure are also related!
A generous artist, Morente allowed for the next 20 minutes of the program to showcase her family
members. First was Enrique, who sang and accompanied himself in the guitar with a piece that had
an influence of Nueva Trova and showcased his powerful voice per his lineage. Her uncle
“Montoyita” showed a mastery of the Spanish guitar as well as his son “Monti,” while the young
“Popo” sang a rap-flamenco fusion piece taking him to the front center stage for an awaited dance
number.
Enrique Morente was an innovator in this musical art form and his daughter Estrella is a chip off the
old block. The remainder of the evening was a marriage of several music genres with flamenco,
including rendition of the Carlos Gardel’s famous tango “Volver,” which was used in the movie of the
same name. During this number, the diva walked down from the stage and sang in the aisles,
between seats and waived at those in the balcony for almost 15 minutes to the delight of the
audience.
To cap off an exciting, traditional and eclectic flamenco music evening, a member of the audience
who had sent Estrella Morente roses and a request for a famous “buleria” (fast flamenco rhythm in
12 beats) was rewarded along with the audience with an encore that left a taste of old world Spain
in all our souls and a need to dance.
Humberto Capiro is a Contributing Writer for Living Out Loud - LA, covering lifestyle
and entertainment. Follow him on Twitter: @HumbertoCapiro
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