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Flamenco Dance Class Calendar http://home.earthlink.net/~bc77/flamcalendar/review3.html

Reviews 14/04/14 13:55

Judith Gelman Myers is a freelance writer living in New York. Her essays on film and books appear regularly in American Photo, Hadassah magazine,
and First of the Month. She studies flamenco in New York and Jerez and dances and sings weekly at a New York tablao.

The views expressed in this article do not necessarily reflect the views of this website, (which by the way has no opinions). This is the personal
opinion of the author only.

Got a comment about this article? Send it in to [email protected].

New York Flamenco Festival 2014, March, 2014

This year’s flamenco festival should be viewed in light of Theseus’s paradox, an ancient thought experiment that poses a difficult
question: If an object has all its parts reeplaced, is it still the same object? Specifically, if we list the elements that are essential to
flamenco—compas, cante, a specified dance vocabulary, etc.—how many of these can be eliminated, replaced, or changed before it’s
no longer flamenco? It’s necessary to add that the debate about what constitutes flamenco no longer pits gypsy flamenco puro
against academy flamenco; it hasn’t for a long time. Today the issue centers around the degree to which modern dance vocabulary,
staging, and attitude have preempted flamenco, whether puro or otherwise.

The point of intersection between this year’s flamenco festival and modern dance can be found in this description of dance theater,
which was developed by modern dance pioneer Rudolf von Laban in the 1920s: “The name tanztheater [dance theater] refers to a
performance form that combines dance, speaking, singing and chanting, conventional theater and the use of props, set, and
costumes in one amalgam. It is performed by trained dancers. Usually there is no narrative plot; instead, specific situations, fears,
and human conflicts are presented. Audiences arestimulated to follow a train of thought or to reflect on what the tanztheater piece
express. It has been described as a new twist on an old form: German Expressionism.” (“Compulsion and Restraint, Love and Angst,”
by Roland Langer, 1984, Dance magazine, 1984, 58, no. 6).

Nothing could better describe each of the four concerts in the festival than Langer’s description of dance theater. The opening gala,
headlined by Antonio Canales, was pure theater in the Western vein. In terms of Theseus’s Paradox, flamenco was not displaced by
modern dance; it was enhanced. From Cantes, in which four members of the company danced isolated by a spotlight and
accompanied by a solo cantaor, to Caracoles, a sumptuous feast of scarlet batas, the company found the duende in theater and the
theater in flamenco. Highlights included TrillA7, a duet exquisitely performed by Jesus Carmona and Lucia Campillo that seamlessly
incorporated modern dance vocabulary; a showy but intelligent alegrias by Jesus Carmona, who won First Dance Award at Cante de
la Minas in 2012 and brought the house down atthe festival’s opening night; and the closing seguiriya by Karime Amaya,
grandnieceof Carmen Amaya, who has danced alongside Farruquito, Pastora Galvan, and Manuela Carrasco. For duende, the show is
indebted to cantaor Ismael de la Rosa,* whose ability to plumb the profound depths of cante is matched only by his extraordinary
knowledge of the spiritual and aesthetic laws that govern it.

Eva Yerbabuena presented two programs, on consecutive nights. It’s said that she created the first, Ay!, after giving birth to her
second daughter; she danced Ay! solo in order to express her feelings as an expectant mother. This was a huge mistake on her part.
Yerbabuena cites Pina Bausch—a contemporary devotee of dance theater—as a “decisive influence.” In Bausch’s work, repetition
leads to transformation, but it’s clear that Yerbabuena has adopted Bausch’s technique without understanding how it functions. In
Ay! repetition led merely to boredom; Yerbabuena’s half-baked choreographic ideas represented experiment as mutation rather than
evolution.

The same could not be said for the musical component of Ay!, which was far more successful in incorporating modern influences,
especially striking in a cante-violin duet with violinist Vladimir Dimitrienco. Yerbabuena should also be eternally grateful for the
contribution of Paco Jarana, her husband, on guitar. Though Jarana is considered one of the best flamenco guitarists in the world, he
is content to devote himself to playing for Yerbabuena—as he played for Farruco, Mario Maya, and Matilde Coral.

Nearly all was forgiven with Yerbabuena’s second ballet, Lluvia, presented the following evening. She still indulged in some
ill-advised forays into the modern sector, but her attraction to, and need for, new forms became clear in her taranta and closing
solea. Yerbabuena’s special gift is her understanding of the communicative reach of footwork. She intuitively grasps how to convey
nonverbal meaning through taconeo; the duende she achieves in these moments electrifies her dance as a whole until it burns. In
these moments one understands the trick to watching Eva Yerbabuena: Ignore the half-baked stuff because it will yield something
wonderful later on. Extraspecial mention must be made of dancers Eduardo Guerrero, who won the coveted Desplante award at the
2013 Cante de Las Minas Festival, and Mercedes de Cordoba, the second-place winner, as well as cantaor Enrique “El Extremeno.”

Israel Galvan’s show La Curva, presented at the Schimmel Center for the Arts, presents the greatest difficulty in terms of Theseus’s
Paradox. Harking back to Vicente Escudero’s experimental Cubist flamenco show in 1924, in which the maverick Escudero tapped to
the sound of pyramids of chairs falling to the ground (a bit of stage trickery mimicked by Galvan), Galvan assembled fragments of
absurdity into a pastiche of sound and visuals that might or might not have had anymeaning at all. Critics speak of his genius at
“pushing the boundaries” and “sticking a knife into the narrow notions of flamenco,” but Galvan never wanted to do flamenco in the
first place. Watching his concerts is like watching a thirteen-year-old rebel against his parents. While some people delight in this
kind of display,others feel it’s something better acted out in the privacy of one’s living room.

The difficulty in terms of Theseus’s Paradox lies in the fact that the entire show is built on compas. While Escudero was accused of
having no compas, the same cannot be said of Galvan; he’s suffused with it. He beats it out on the chair he slings over his head, he
makes it ring through inches of flour he strews on the stageand tosses over his body, he mirrors it in his accompaniment to Sylvie
Courvoisier’s prepared piano. And he does some “real” flamenco—but only a measure or two at a time, never sufficient to fully
develop a “real” flamenco idea.

His contempt for the form is clear. What isn’t clear is what lies beyond his contempt. Moreover, it’s rumored that he had cantaora
Ines Bacan strip her performance of the living moments of passion that make flamenco great, the way film director Bresson had its
actors strip their performances of any kind of emotion. What’s left of flamenco is compas but little else. Is it enough? Not enough to
becallled flamenco. Is it enough to be viable modern dance? Not yet, but once Galvan sheds his need to rebel against flamenco, he
will give his true gifts freedom to soar.

*New Yorkers are incredibly fortunate that Ismael de la Rosa teaches cante class when he is not on tour. For a schedule of Ismael’s
cante classes and Sonia Olla’s flamenco dance class, see RosaFlamenca Cursos NY on Facebook.

1 de 4

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"Gala Flamenca" swoops into the Merriam Theater Sunday, the first time in its 14 years that this justly famous touring 59% OFF
show has played Philadelphia. (YI-CHUN WU)
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Rosario Toledo, Wine & Lunch for 2, Reg. $58
modern-feminist POSTED: February 28, 2014
flamenco… Get This Deal
This winter, Philadelphia is a flamenco-lover's paradise. The Antonio Deal expires:4d:16h:04m
Gades Dance Company just left town, after thrilling audiences in Opera
Philadelphia's Ainadamar. Now comes March, featuring performances Deals Nearby: Philly | SJ | North | West | Destinations
by a host of flamenco superstars and a 16-day festival celebrating the
art form. We Recommend

On Sunday the Kimmel Center presents "Gala Flamenca" at the Innovative, feminist flamenco
Merriam Theater, the first time in its 14 years that this justly famous
touring show has played in Philadelphia rather than skipping over us March 18, 2012
en route from New York to Washington and beyond. This year's
embarrassment of riches features four exceptional dancers: Antonio Spring Arts - Dance: A dozen dances for
Canales, Karime Amaya, Jesús Carmona, and Carlos Rodríguez. spring

January 27, 2014

Speaking by phone from Jérez in southern Spain, where he was loading...
overseeing the Spanish premiere of the Sunday program, artistic
director and producer Miguel Marín was conspiculously excited.

"I always want to create a 'Gala' that will bring together flamenco artists
of different ages, and different styles," he said. "So I invited one maestro [Canales] and three younger dancers."

There's a 25-year age difference between the 50-plus Canales and his youngest costars. He represents a fairly traditional
approach to flamenco, combined with modern elements; Rodríguez is an expert in Spanish classical dance, with flamenco
inflections. And, in the work of Amaya and Carmona - "the two young monsters," as Marín calls them - "you can really see the
future of flamenco."

Though "Gala Flamenca" isn't narrative, Marín said he didn't want "the standard flamenco gala, with a lot of unconnected solos,
but, rather, a real show." To accomplish this he hired Ángel Rojas, a veteran of Canales' troupe and a highly regarded
dancer/choreographer in his own right, to direct. Thanks to Rojas, along with some spectacular solos this "Gala" program includes
a duet plus segments involving the entire cast, which includes two female corps dancers, three flamenco singers, a pair of
guitarists, one violinist, and a percussionist.

"I believe we're in a Golden Age of flamenco," Marín says, because, "now that younger artists have broken with past
preconceptions of what flamenco must be, they're free to . . . use the art form to express themselves in many different ways, but
always with respect for flamenco's roots."

If the prospect of the star-studded "Gala" were not enough to keep local flamencophiles up at night, beginning Saturday and
running through March 16, the all-female flamenco troupe Pasión y Arte (PyA) presents the second Philadelphia Flamenco
Festival, a whirlwind of performances, master classes, movie screenings, formal lectures, informal post-performance discussions,
pre-performance receptions, and a scholarly symposium.

Elba Hevia y Vaca, the founder and director of Pasión y Arte, has put together the festival with support from several organizations,
including the Knight Foundation and the Pew Center for Arts and Heritage. Its schedule is too complicated to summarize here (for
details, see www.philaflamencofest.org), and it's even more ambitious than the first festival, in 2012, which featured eight sold-out
performances by PyA plus Spanish guest dancer Rosario Toledo.

Toledo has returned this year. This master of flamenco satire also has produced "straight" modern choreographed pieces, among

1 de 2 10/04/14 14:01

Flamenco arrives to heat things up - Philly.com http://articles.philly.com/2014-02-28/news/47743973_1_flamenco-artists-elba-hevia-...

them Cómplices, which was commissioned by PyA and opens the festival with two performances Saturday at Longwood Gardens,
one of nine festival venues (the rest are in town).

Toledo will appear in both Vengo, on March 8 and 9, and Tapas, next Thursday through March 8. In the latter she'll perform with
three local artists: Eun Jung Choi, a modern dancer who also does traditional Korean dance; postmodern dancer Meg Foley; and
one of Philadelphia's most-revered tappers, Germaine Ingram. As Hevia y Vaca notes, the festival is ultimately about education,
collaboration, and dialogue - among the various artists, between the performers and the audience, and with Philadelphia's
flamenco community and flamenco elsewhere.

The festival concludes with performances by two internationally renowned exponents of nuevo flamenco. Pastora Galván and her
brother, Israel Galván, who both work on the cutting edge of their art form, will be making their Philadelphia debuts.

On March 13 and 14, Pastora will perform a piece created by her brother and based on growing up in a traditional Spanish gypsy
family. Hevia y Vaca notes that Galván is probably the only other person in the world who can effectively perform her brother's
brilliant but highly eccentric choreography.

On March 15 and 16, Israel Galván will present his new work, La Curva. Labeled "a Cubist flamenco dancer," because of the odd
angles into which he twists his body, Galván often injects his dancing with humor, making music with his teeth and exploring the
potential of stillness and silence.

Says Hevia y Vaca, "There's a grotesqueness to [ La Curva]. In it, Galván lies down on the stage and plays in the flour" that covers
the floor. He also works with a Swiss pianist who produces "resonant, cryptic, crazy sounds."

For 16 glorious days Philadelphians have an unprecedented opportunity to experience both traditional and experimental flamenco,
performed by extraordinary Spanish artists.

"All of it is good," Hevia y Vaca maintains. "You can't limit flamenco to just one thing. It's always growing and changing."

DANCE
The Second Philadelphia Flamenco Festival Saturday-March 16, various venues. Tickets: $10-$35. Information:
www.philaflamencofest.org.

Gala Flamenca 7 p.m. Sunday at the Merriam Theater, 250 S. Broad St. Tickets: $35-$62. 215-893-1999 or
www.kimmelcenter.org.

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2 de 2 10/04/14 14:01

Festival de flamenco enciende Washington || El Tiempo Latino | Noticias de Washing... http://eltiempolatino.com/news/2014/mar/01/festival-de-flamenco-enciende-washington/

Festival de flamenco enciende Washington

Reconocidos artistas de este género se presentan del 4 al 18 de marzo en el Lisner Auditorium de DC

El bailaor y director Antonio Canales. |
Washington, DC.-El sentimiento profundo y la fuerza del cante, toque y baile del flamenco encenderán el fuego en Washington DC del
martes 4 al 18 de marzo, con un desfile de reconocidos artistas españoles que forman parte del tour Flamenco Festival 2014 en 26
ciudades de Estados Unidos y Canadá.
Como lo ha hecho tradicionalmente por años, el Lisner Auditorium de la universidad George Washington abre sus puertas al festival en
DC; pero esta vez cuenta con el co auspicio del restaurante Jaleo, cuyo propietario es el conocido chef José Andrés.
La primera función del martes 4 reúne a cuatro grandes en la “Gala Flamenca”, que se realizará a partir de las 8pm.
Dirigida por Ángel Rojas, la gala presenta al maestro del flamenco Antonio Canales, uno de los más brillantes bailaores de flamenco en
España, descendiente de una familia de artistas.
También sube al escenario el inolvidable coreógrafo de Nuevo Ballet Español, Carlos Rodríguez. Así mismo la mexicana, de
ascendencia española Karime Amaya, sobrina nieta de Carmen Amaya. Finalmente participa la joven estrella Jesús Carmona.
La segunda función en el Lisner será el viernes 7 con la producción “Lluvia” de Ballet Flamenco Eva Yerbabuena. El martes 18 cierra
el festival en la capital con la presentación del guitarrista de flamenco José Fernández Torres, más conocido como “Tomatito”.
Flamenco Festival, que nació de manera sencilla en Nueva York en 2001, se ha expandido a pasos gigantes gracias al apoyo de Instituto
Andaluz del Flamenco y el Instituto Nacional de las Artes Escénicas y de la Música (INAEM) de España.
En la gira de Estados Unidos y Canadá, actuarán unos 200 artistas en 34 teatros de 25 ciudades.
El Lisner Auditorium está ubicado en el 730 21st St. NW.

Also of interest

“Tomatito” cierra festival de flamenco

Agenda de actividades en el área de Washington

1 de 2 15/04/14 10:45

Eye on Dance and the Arts http://www.eyeondance.org/arts/archives.cfm?id_journal_item=C1897CC1-5056-83...

Performing Arts: Dance

FLAMENCO FESTIVAL 2014
March 9, 2014
After 14 years, the flamenco festival is indeed a NYC institution. To honor it’s
roots, Juan Ramón Martínez Salazar, Consul General of Spain in New York
awarded Robert Browning, founder of the World Music Institute, with the “Cross
of the Order of Civil Merit” in recognition of his extraordinary service for the
benefit of Spain. Festival director, Miguel Marin joined Browning on stage.

In the early days, dancers and musicians were quilted together in hopes that
everyone would show up and perform what they promised. Now, top performers,
collected by Festival director Miguel Marin, vie to participate in the festival that
has spread to several venues around the city. This year’s Gala Flamenca,
directed by Ángel Rojas, gathered some of flamenco’s finest. In the first piece,
dancers came out one by one, presenting their signature style as a way of
introducing themselves.

An excellent evening of music and dance, men’s heels drilled into the floor under
torsos held in a hyper-extended erectness while arms twisted at the wrists.
Dominating their own power universe, the women –particularly Karime Amaya
towered over the stage. From the moment she stepped in the light, Amaya
exerted a strength bolstered by a provocative musicality. In a Seguiriya, Amaya
trilled her foot so that minute vibrations circulated up and down her leg. Her
proud bearing and powerful hips shaped the images and sounds produced by
the singers Antonio Campos and Ismael de la Rosa, the guitarists Paco Cruz
and Daniel Jurado, the violinist Roman Gottwald and the percussionist Miguel El
Cheyenne.

Theatrical comic relief was injected by the portly, flambouyant Antonio Canales.
Displaying technical snap, Carolos Rodriguez and Jesus Carmona seized on
some audience grabbing moments defined by spitfire turns, rapid-fire heeltaps
and any number of preening gestures. In a sophisticated demonstration of
flamenco married to the balletic classicism, Jesus Carmona executed a clean
technique defined by an elegant torso, restrained pyrotechnics glittering inside a
riveting musicality.

A trio of females decked in red, form-fitting dress and massive ruffled trains.
Karime Amaya, Lucia Campillo and Carmen Coy issued a glorious
demonstration of the many personalities of great women in flamenco.
EYE ON THE ARTS, NY -- Celia Ipiotis

©2001 Eye and Dance and the Arts | All Rights Reserved

1 de 1 14/04/14 13:57

Eva Yerbabuena Stars in Flamenco Festival - NYTimes.com http://www.nytimes.com/2014/03/11/arts/dance/eva-yerbabuena-stars-in-flamenco-fe...

http://nyti.ms/1fQHmod

DANCE | DANCE REVIEW

Flashes of Red Break Through in a Brooding Spanish Landscape

Eva Yerbabuena Stars in Flamenco Festival

By ALASTAIR MACAULAY MARCH 10, 2014

1 de 2 The most prestigious performer in New York’s Flamenco Festival 2014 has been Eva Yerbabuena, who
presented two programs, “¡Ay!” and “Lluvia,” at City Center this weekend. (The festival continues, but at
other New York locations, through March 24.) At the end of “Lluvia,” as she danced her long, rich and
complex “Llanto” soleá, she proved herself one of the world’s great dancers. Not a moment too soon: All of
her first program (“¡Ay!,” on Saturday evening) had been horrid — and the first sections of “Lluvia” (on
Sunday night) had been worse.

Though it was always apparent that Ms. Yerbabuena was a mistress of the flamenco genre, she spent
most of the time exaggerating, perverting or parodying it. Mainly she used it for a prizewinning display of
anguish: If suffering were a category in the Olympics, she would take top honors. But it’s ludicrous for an
important dancer to spend large parts of her recitals with her face and torso slumped on a table, as Ms.
Yerbabuena did on both evenings. At no point in “¡Ay!” or the first half of “Lluvia” could we feel dance as
music making. Instead the emphasis was all Expressionistic, all labored and all tiresome.

It’s remarkable that, when Ms. Yerbabuena dropped Expressionism and became musically complex in
“Llanto,” she also became a far more seriously expressive artist. The long train of her black dress became
part of the force of gravity against which she worked. Just to see her gently lean this way or that, as if
rooted to the spot but still moving, became exciting, and the opening of her arms, the circling of her hands
were all glorious. Then, lifting her skirts and letting her feet thunder and drill (the fullness and force of her
heel action is exceptional), she showed all the uncrushable defiance of flamenco.

These, however, were only a few features of “Llanto.” In a spectacular sequence, José Valencia, much
the finest of the three singers in both programs, held out a crimson shawl for her — like a red cape to a
bull? She slowly advanced toward it, as if magnetized; then, unexpectedly, she turned, letting him place it
protectively around her shoulders.

Yet scarcely had she pulled the shawl around her arms than she opened them, explosively showing its
full brilliance and long tassels, as if proudly displaying her full wingspan and plumage. Now it joined her
dance, showing her feeling for line and volumetric shape. When she turned, the arcs and colors made by
her train and her scarf became enthralling as revolving sculpture.

Whereas in “¡Ay!,” her only company onstage were her musicians, other dancers shared “Lluvia”; it
was they who raised the barometer. Mercedes de Córdoba had made a fine impression of contrasting
tensions in one solo; the way she braced one part of her body against another, then kept changing the
angle, was vivid. Next, Eduardo Guerrero let rip in a marvelously eccentric solo, his legs and feet kicking
and thrusting in ways that contradicted the formality of his upper body: all were part of a musical
continuity.

When flamenco dancers perform as if “Music Makes Me” were their motto, then the art form
flourishes. When music and dance are subordinated to hammering home feelings of grief and gloom, then
flamenco is both tedious and absurd.

A version of this review appears in print on March 11, 2014, on page C2 of the New York edition with the headline: Flashes of Red Break

14/04/14 13:55

Eva Yerbabuena review: Half-baked 'Lluvia' - SFGate http://www.sfgate.com/entertainment/article/Focus-on-Flamenco-comes-alive-at-the...

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Eva Yerbabuena review: Half-baked 'Lluvia'

Allan Ulrich
Updated 8:07 am, Friday, March 14, 2014

Eva Yerbabuena is, without a doubt, one of the most arresting flamenco artists before the public. As a generator of dance material,
however, the German-born artist is far from infallible.

Under Cal Performances auspices Wednesday evening at Berkeley's Zellerbach Hall, Ballet Flamenco's Eva Yerbabuena gave the Bay Area
premiere of "Lluvia" (Rain), and most of the first half of the 90-minute opus looked like half-baked Expressionist melodrama created in
the vicinity of the Ruhr Valley. Fortunately, blessedly, in the last half hour, Yerbabuena rocked the joint with "Llanto," a solea that
released the demonic energy and superb musicality of flamenco at its most inspired.

Her colleagues in this episode included a terrific singer, José Valencia, and a long black skirt that sometimes assumed the character of a
vengeful serpent, as it slid around its bearer. Here, Yerbabuena poured the essentially fatalistic tone into her liquid spine and forceful
arms. The percussive, rapid footwork might have been measured in milliseconds, and watching the dancer rotate in place or beetle across
the stage without missing a tap afforded a rare pleasure. At the end, a singer offers her a red shawl. Yerbabuena assumes a taurean
position, but we are surprised when he wraps her tenderly in the cloth.

It's the only time in the show when she stops it. At the beginning of "Lluvia," Yerbabuena, in red dress, emerges from a theater aisle and
ascends the dimly lit stage populated by people who all gaze in the same direction (the piece ends with a reprise of this routine).
Yerbabuena falls into shopworn gestures, like lying on the floor immobile with one leg raised or repeatedly delivering a silent scream,
slumping across a table or wrapping her arms around her shoulders. There are better ways to convey anguish, and none of this
is believable.

It all comes to life when a costume trunk is raided, the dancers change and most of them get a solo and participate in a snappy unison.
Outstanding among the team is tall, saturnine Eduardo Guerrero, whose pointillist attack won him an ovation. For most of the piece,
Yerbabuena skips the traditional tablao arrangement, with percussionist Antonio Coronel and other musicians performing behind a
scrim. The other dancers were Lorena Franco, Mercedes de Córdoba and Christian Lozano.

Yerbabuena was the first entry in Cal Performances' "Focus on Flamenco" project. Judging from Wednesday's response, the series could
easily be extended.

Focus on Flamenco: Estrella Morente, vocalist. 8 p.m. Friday (March 14). $18-$48. Zellerbach Hall, Berkeley. (510) 642-9988.
www.calperformances.org.

Allan Ulrich is The San Francisco Chronicle's dance correspondent. E-mail: [email protected]

© 2014 Hearst Communications, Inc.

1 de 1 14/04/14 14:09

Eva Yerbabuena @ New York City Center – More Please! - Charmaine Warren http://www.charmainewarren.com/1/post/2014/03/eva-yerbabuena-new-york-city-cen...

Charmaine Warren

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Eva Yerbabuena @ New York City Center – More Please! Categories

03/19/2014 0 Comments All
Articles
Eva Yerbabuena/Ballet Flamenco’s Interviews
Lecture
Lluvia (Rain) at New York City News
Performance Calendars
Center, as part of the city-wide Previews
What I Saw
Flamenco Festival, was fantastic.
Archives
The curtain rises and we see feet,
April 2014
plenty of them, most in shoes and March 2014
February 2014
few without—it was quiet. Then, January 2014
December 2013
from the audience, Yerbabuena, in a November 2013
October 2013
bright red dress and barefooted September 2013
August 2013
enters. She makes her way to the July 2013
June 2013
stage, meanders through the May 2013
April 2013
“crowd,” pauses then falls to ground, March 2013
February 2013
on one side, legs outstretched and Yerbabuena - "Lluvia (Rain)" January 2013
arms close to her body. Soon, all but December 2012
November 2012
four from the crowd, also barefooted, are left on stage. They too fall to the floor, collapse into fetal position, October 2012
September 2012
roll from side to side, and in alternating sequences, rise and fall out of the floor, assuming terse arm and August 2012
July 2012
torsos foreshadowing what is to come. Then, and only then, does the music begin, and Yerbabuena who May 2012

returns (didn't realized she’d left), commands the space tapping out rapid sounds from her shoes. Charged

then with the intensity of flamenco (guitar, song and dance), the dancers and musicians alike prompt each

other with simply an inhale. Yerbabuena mixes pure Flamenco with contemporary styles and what follows is a

generous dose of both: a duet/trio with Yerbabuena, a male dancer and a malleable table where arms push

through from one side to the other separating the dancers, or a lively Spanish café with music and dance and

lots of prompting - baile! Yerbabuena’s spit-fire solo framed by singers Jose Valencia, Enrique “El extremeno”

and Juan Jose Amador, finely capped with the donning of a red shawl brings the evening to a close. More

please!

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1 de 2 14/04/14 13:57

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 14:10

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

Theater Review : Reality Shifts 'Every Five Minutes' in Magic Theatre's Post-Traumatic Stress Play

2 de 4 Theater Review : Masochistic Audition Comedy Is a Kinky Trifle 14/04/14 14:10

Estrellas Festival Flamenco Nueva York | Siempre Mujer http://siempremujer.com/cultura/las-estrellas-del-flamenco-brillan-en-nueva-york/66941/

Buscar...

Las

estrellas del flamenco brillan en Nueva 14/04/14 14:16
York

19 de febrero de 2014
Por: Beatriz Cuartero
BeaCuartero

Como cada año, durante los próximos días 6, 7, 8 y 9 de marzo grandes
estrellas de este arte andaluz se reunirán en la ciudad de Nueva York para
celebrar el Festival Flamenco, que cada edición está ganando más adeptos.

El lugar elegido será el New York City Center y entre los artistas que asistirán
destacan grandes bailarines como Antonio Canales, Jesús Carmona, Carlos
Rodríguez o Eva Yerbabuena, esta última contará con la colaboración de la
conocida coreógrafa alemana Pina Bausch.

Aquí les dejamos la programación del Flamenco Festival 2014:

Gala Flamenca 2014:
Antonio Canales, Carlos Rodríguez, Karime Amaya y Jesús Carmona
Jueves 6 y viernes 7 de marzo 8:00 p.m.

Ballet Flameco Eva Yerbabuena “¡Ay!”
Sábado 8 de marzo 8:00 p.m.

Ballet Flamenco Eva Yerbabuena “Lluvia”
Domingo 9 de marzo 7:00 p.m.

Dónde conseguir las entradas:

Disponible en línea en este enlace www.NYCityCenter.org y también vía

1 de 2

Estrella Morente's flamenco singing inspired by many styles - SFGate http://www.sfgate.com/music/article/Estrella-Morente-s-flamenco-singing-inspired-b...

Estrella Morente's flamenco singing inspired by many styles

Mary Ellen Hunt
Published 3:13 pm, Wednesday, March 12, 2014

In her own family, a veritable flamenco dynasty, they call her the nightingale. For her part, "heartfelt" is how flamenco singer Estrella
Morente, who takes the Zellerbach stage as part of the Cal Performances Focus on Flamenco series this Friday, describes her style.

"Flamenco for me is one of the ways that allows me to express myself with the greatest purity of anything in life," says the 33-year old,
Andalusian-born Morente about her evolution as an artist. "People change over time. The most important thing is to do go deep and be
honest when you do something, and this allows each person to move forward and grow with their particular strengths and in their own
way. Life has a lot of twists and turns, and you don't know where it will take you."

Her own young career has seemed to eschew twists and turns for a steady upward ascent. The daughter of famed flamenco singer Enrique
Morente and the dancer Aurora Carbonell, she has been electrifying audiences since the age of 7 with a voice filled with fire in one
moment and rich like raw honey in the next.

Estrella Morente recorded her first album in 2001 at the age of 21. Her third album, "Mujeres," was nominated for a Latin Grammy for
2006 - the same year that Morente voiced the flamenco song that Penelope Cruz sang in Pedro Almodovar's "Volver" - and her fourth and
most recent recording, "Autorretrato," was also nominated last year for a Latin Grammy.

Like her late father, who produced several of her recordings and was himself known for incorporating unconventional elements to his own
singing, Morente's style is a blend of traditional and contemporary.

"Music is a universal language," she says. "I come from flamenco and my household is a flamenco household, but it's an open household
and any genre of music that enriches me is part of life. Jazz, blues, Caribbean and Cuban son, rancheras, Colombian song, Portuguese
fado, and classical music have been great sources of inspiration."

Her father's influence can be deeply felt in "Autorretrato," which was produced and directed by Enrique Morente and was his last project
before his death in 2010. The 15 songs bring Estrella's own lucid singing together with an unusual coterie of artists, including Pat
Metheny, Michael Nyman and the late flamenco guitar master Paco de Lucia.

" 'Autorretrato' makes me fall in love with the ancient cantes, with the history of the purest flamenco all over again, in order to set it free,"
she says, "and also to free myself of those reservations that certain people with fairly extreme standards use to corset the art form. And in
this recording, as I see it, Enrique Morente offers me the chance to portray myself and to have a frank conversation with myself
and everyone."

If you go
Estrella Morente: 8 p.m. Friday. $18-$48. Zellerbach Hall, Bancroft Way at Dana Street, Berkeley. $18-$48. (510) 642-9988.
www.calperformances.org. Also 7:30 p.m. Saturday. $25-$70. Green Music Center, Sonoma State University, 1801 East Cotati Ave.,
Rohnert Park. (866) 955-6040. www.gmc.sonoma.edu.

Mary Ellen Hunt is a freelance writer in San Francisco. E-mail: [email protected]

© 2014 Hearst Communications, Inc.

1 de 1 10/04/14 13:51

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Como ya hemos dicho en este segmento, el flamenco está de fiesta en la
ciudad con su festival anual. Y este sábado, la celebración es nada menos que
en Carnegie Hall, donde se presentará la cantaora Estrella Morente. Estrella
debutó en el cante siendo una adolescente y desde el lanzamiento de su
aclamado debut discográfico "Mi cante y un poema" en 2001 ha comenzado a
brillar con luz propia en el mundo de la música andaluza mucho más allá de la
figura de su padre, el legendario Enrique Morente. Estrella Morente conversó
con José Manuel Simián en Contraportada.

Estrella Morente se presenta a las 7:30 este sábado en Carnegie Hall.

Para conseguir boletos y obtener más información, visite carnegiehall.org
(http://www.carnegiehall.org).

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Estrella Morente presentará “Autorretrato” en Toronto | Toronto Hispano http://toronto.hispanocity.com/publicacion/2014/02/estrella-morente-presentara-autor...

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LEYENDAS DEL TANGO ALUCINE FILM FESTIVAL “FOCUS EXPO BIENVENIDO A CANADÁ ESMERALDA ENRIQUE PRESENTA: VENA CANADIAN TOUR 2014
MEXICO” LATINO "DE IDAS Y VUELTAS" Mingles Lounge
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APR 3 - 12 12 24-27
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Different Venues Fleck Dance Theatre Harbourfront
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Estrella Morente presentará “Autorretrato” en
Toronto

La superestrella española ofrece su última producción, un retrato de sí
misma, en su espectacular show

Publicado: 28-02-2014 De nuestra redacción

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COMPARTELO!

ELasatrrtisetalleaspMañoolaredenfltaemenco Estrella Morente se presentará en el Massey Hall, Toronto este martes 11 de 10/04/14 13:46

marzo en el marco del Festival de Flamenco 2014 para presentar su última obra “Autorretrato” . En este último
disco, la hija del gran Enrique Morente, ha contado con la colaboración de artistas tan reconocidos como el
recientemente fallecido Paco de Lucía, Vicente Amigo, Carlos Cano, entre otros.

“Autorretrato” no solo es obra de Estrella Morente sino también de su padre – quien ejerció de productor pero no
llegó a verlo publicado pues falleció. Fue de Enrique Morente la idea de grabar las canciones que componen el citado
álbum y es él quien en la portada aparece reflejado en un espejo en una espléndida fotografía un tanto
fantasmagórica.

Aunque no en el disco no falte la jondura flamenca, siendo en parte obra de Enrique, no podía faltar un vasto
eclecticismo que se materializa en habaneras, jazz u otros estilos a los que el del Albaicín no hacía ascos.

Y si su padre era afecto a las mezclas -para los puristas imposibles- su hija Estrella se doblega, que no parte, para

1 de 3

Estrella Morente presentará “Autorretrato” en Toronto | Toronto Hispano http://toronto.hispanocity.com/publicacion/2014/02/estrella-morente-presentara-autor...

alcanzar registros de seda o de rotura y desgarro. No es por nada que Estrella Morente está considerada como una
de las mejores cantaoras jóvenes, si no, para muchos, la mejor.

Este martes 11 de marzo tienes una cita con la talentosa artista de flamenco Estrella Morente en el Massey Hall,

178 Victoria Street, Toronto. El espectáculo iniciará a las 8:00 de la noche. Ingresa aquí para adquirir tus
entradas.

NOTICIAS RELACIONADAS:

El Flamenco Festival 2014 traerá a Estrella Morente a Toronto

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10/04/14 13:46

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Estrella Morente en Massey Hall de Toronto el 11
de Marzo, 2014 Super Estrella del Flamenco desde
España

La super estrella española ofrece un retrato de sí misma en su espectacular show

Estrella Morente

11 de Marzo 2014
Hora: 8:00 pm

Massey Hall
178 Victoria Street, Toronto

La super estrella española del flamenco Estrella Morente ofrece un retrato de sí misma en su espectacular show.

TICKETS:

$39.50 REG $69.50VIP

1 de 3 10/04/14 15:22

Estrella Morente canta en Maryland || El Tiempo Latino | Noticias de Washington DC http://eltiempolatino.com/news/2014/mar/14/estrella-morente-canta-en-maryland/

Estrella Morente canta en Maryland

Estrella Morente | ETL
Su nombre es sinónimo de lucero con cuya luz y voz iluminan salas de conciertos en Estados Unidos y Canadá. Ahora muchos
americanos ya ponen cara a la voz del tema principal de la película Volver de Pedro Almodóvar tan querido por estos lares.
Concierto
19 de marzo. Strathmore Hall, North Bethesda, MD. 8:00 pm

Estrella Morente canta "Volver"

Estrella Morente, cantaora española hija del maestro Enrique Morente -fallecido en 2010- y de la bailaora Aurora Carbonell, está a
punto de acabar su gira de nueve conciertos durante doce días por Estados Unidos y Canadá, cosechando buenas críticas y
promocionado su último CD Autorretrato (EMI), dentro del programa Flamenco Festival USA 2014.

¿Encuentra buena respuesta entre el público latino en tus conciertos de Nueva York, Miami y Chicago?

Tengo la suerte de contar a priori con un público latino que busca el flamenco porque se siente identificado con él; viene a los
conciertos entregado y sensibilizado y yo me emociono con ellos. También cuando conecto con el público, venga de donde venga, se
me eriza el pelo de la piel. El poder de la transmisión con el público es impresionante, luego está la técnica que hay que trabajarla, y un
poco de talento.

¿Pero hace falta entender la letra para sentir el flamenco?

No, es falso. Cuando vienen a los conciertos y enganchan, repiten y repiten. La música es un lenguaje universal que mueve los
sentimientos y eso me lo ha enseñado mi padre. Es la sensibilidad a través del arte y es lo único que hace falta para que te guste el
flamenco.

Tu último CD, que es un tributo a tu padre, lo has definido como un reflejo de tu interior...

Ilusionado, constructivo y como si fuera un altavoz que quiero aprovechar para transmitir mucho. Me ha costado mucho sacrificio y he
puesto mucho interés en sacarlo adelante. Me siento afortunada por tener mucho trabajo tal y como está lo situación. Este CD es un
tributo a mi padre, y lo mejor que me puede pasar es parecerme a él y merecérmelo. No conozco a nadie, ni dentro, ni fuera de la
música que sea tan generoso, cercano y protector del débil como él. Llamarse Morente es lo mejor que me ha pasado en mi vida porque
representa lucha, sacrificio, visión de futuro y respeto a los principios. Él rompe con el mito del intocable.

1 de 2 10/04/14 13:45

Estrella Morente canta en Maryland || El Tiempo Latino | Noticias de Washington DC http://eltiempolatino.com/news/2014/mar/14/estrella-morente-canta-en-maryland/

Ahora el flamenco está de luto sin Paco de Lucía, sin tu padre, sin Camarón, sin Lola Flores, ¿faltan nuevos mitos?

Me siento incapaz de pensar que ya no ocupan esos lugares que ellos son quienes iniciaron el camino. Me pregunto si habrá que esperar
generaciones para encontrar sus suceros pero es que ellos son irrepetibles, únicos, incomparables. Tenemos que seguir su ejemplo de
vivir por y para el arte, el camino del sacrificio, del compañerismo como hicieron La Perla de Cádiz, La Niña del Peine, Manolo
Caracol, Carmen Amaya, Vallejo; entre ellos había rivalidades, pero también admiración. Ahora estamos en un momento de cambio, en
los que es necesario que salgan nuevos genios en todos los ámbitos, no sólo en el flamenco. Es fundamental fijarnos en el ejemplo que
nos han dejado, para valorarlo.

|

Also of interest

Concha Buika trae su "noche" al Strathmore

“Tomatito” cierra festival de flamenco

Dos pasiones por el flamenco

Carlos Núñez: solidaridad latina y celta en EE.UU.

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2 de 2 10/04/14 13:45

Estrella Morente at Symphony Center » Gozamos http://gozamos.com/event/estrella-morente-at-symphony-center/

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TUESDAY, MARCH 4, 2014 AT 8:00PM

Estrella Morente at Symphony Center (http://gozamos.com/event
/estrella-morente-at-symphony-center/)

Chicago Symphony Center 220 East Chicago Avenue, Chicago , IL | Cost: $25-$65

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Transport yourself to a sultry night in Spain with passionate flamenco singer Estrella Morente. Singing everything from sensual
tangos to glittering tarantas, the renowned diva will take your breath away with her emotional vocals and captivating presence.

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1 de 2 14/04/14 14:01

Estrella Morente | Symphony Center | International | Chicago http://www.chicagoreader.com/chicago/estrella-morente/Event?oid=12699224&mo...

The great flamenco singer Enrique Morente, an iconoclast who pushed against the strictures of the form, died in December 2010. Many of his
controversial aesthetic choices—he set classical Spanish poetry to music, wrote a flamenco mass, and collaborated with rock and jazz musicians, among
other things—no longer register as daring, in a testament to his influence. His daughter Estrella Morente is carrying on his legacy: on the cover of her
most recent album, 2012’s Autorretrato (Parlophone Spain), he’s pictured standing behind her, and he duets with her on the closing track, “Adagio.”
The recording is Estrella’s most diverse and assured, and she uses every track to explore a different interest. The opening track, “Pregon de las Moras,”
has a minimalist arrangement by English composer Michael Nyman whose strict, stately orchestral pulse contrasts beautifully with the passion in
Morente’s husky, sorrowful voice. Jazz guitarist Pat Metheny fits right in on “Find Me in Your Dreams,” and on the clave-driven “Cuba Cai” bassist
Alain Perez lends his expertise at fusing flamenco and Cuban son. But for me Morente is at her best in more traditional settings, threading her voice
through the stuttering palmas and forceful guitar of, say, “Como la Corriente” or “En un Sueño Viniste,” which features lead guitar by Vicente Amigo
(heavies such as Paco De Lucia and Tomatito also make cameos). Morente’s band for this concert consists of guitarists Jose Carbonell and Jose
Carbonell Serrano (her uncles), percussionist Pedro Gabarre, and a backing chorus of Enrique Morente Carbonell (her brother), Antonio Carbonell,
and Angel Gabarre. —Peter Margasak

Symphony Center
220 S. Michigan Ave. LOOP

312-294-3000
cso.org

(based on 4 user reviews)

Tags: International, Agenda, Recommended, Soundboard

2 de 2 14/04/14 14:01

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1 de 2 10/04/14 13:42

http://www.elnuevoherald.com/2014/03/08/v-print/1697893/estrella-morente-del-luto...

Publicado el sábado 08 de marzo del 2014

Estrella Morente, del luto a la celebración en el Carnegie Hall

Recordó a su padre, a Paco de Lucía y a Lola Flores. Cantó a García Lorca, Nueva York, Gardel o a sí misma. Y
finalmente, Estrella Morente rompió la solemnidad del legendario Carnegie Hall bajando a la platea para cantar, como
a ella le gusta, cerca del público un “Autorretrato” del luto a la celebración.

Salió de negro, sola y a capela entonó el llanto con el que empieza su último disco. “Ay papíco de mi vida, yo no puedo
andar, se me han roto las alpargatas y me he cambiado un cristal”. Era el “Pregón de las moras”, y en uno de los
auditorios con mejor acústica del mundo, Estrella Morente sonó inmejorable y desgarrada.

La pequeña de los Morente, que actuó allí por segunda vez a sus 33 años dentro del Flamenco Festival, volvía y lloraba
su orfandad, pero mostraba la manera de superarla a través de ese arte heredado. Lo hacía en esa “catedral”, como ella
misma decía, que desde pequeña vio cómo para Enrique Morente era un lugar de ilusión y de respeto.

La granadina había hablado un día antes del sentido de responsabilidad del artista. De cómo le gustaría no ser
consciente de que estaba en el Carnegie Hall, sino poder actuar como en una fiesta flamenca informal, y su recital del
sábado fue una lucha por arrancar al público la espontaneidad y hacerles olvidar también a ellos que estaban en un
templo de la severidad musical.

Hacerles, en definitiva, gritar un “olé” o tocar unas palmas, algo que acabó consiguiendo.

Junto a ella su familia artística y de sangre, encabezada por José Carbonell “Montoyita”, el mismo que acompañó en
ese mismo escenario a Paco de Lucía y al propio Morente. Y el recital paseó por el flamenco más puro, por esos “Tangos
Toreros” que cantan a Málaga, por las alegrías de Cádiz o la canción de su padre “Crisol”, que hablaba de volcanes
muertos y piedras vivas.

“Las cuerdas de la guitarra están llorando a Paco de Lucía”, cantó también para otra de sus recientes pérdidas, esta vez
artísticas, y poco después desapareció dejando al público a buen recaudo, con un espectacular solo de guitarra de
“Montoyita”, y otorgando un momento de gloria en el cante para su batería, Pedro Gabarre “Popo”.

Pero Morente, en ese interludio, cambió el negro por el blanco, dijo “Vamos a disfrutar, que estamos en Nueva York” y
empezó a ponerse al Carnegie Hall “por montera”, dándose también al baile. Enrique Morente, claro, siguió presente,
pero a través de la canción que escribió para ella, “Estrella”. “Si yo encontrara la estrella que me guiara”, rezaban una
de sus estrofas.

Cantó a la ciudad de Nueva York a través de otro español que, como Paco de Lucía o ella misma, se había dado al
mestizaje cultural en Manhattan, Federico García Lorca. “La aurora de Nueva York tiene cuatro columnas de cieno”,
cantaba quien, en su último disco, ha abierto su abanico de colaboraciones a Michael Nyman o Path Metheny.

Hablando de abanicos, ella misma lo manejó con arte para homenajear a la familia Flores, encadenando y
reversionando “Ay pena, penita, pena” y mentando a Lola Flores, “la Faraona”, sumada a la concesión pop con “No
dudaría”, de su hijo Antonio Flores.

Para el final, dejó su promesa de “Volver”, la reinterpretación flamenca que hizo del famoso tango de Carlos Gardel
para la película de Pedro Almodóvar, y en la que, finalmente, decidió saltarse los protocolos del Carnegie Hall, buscó la
escalera por la que acceder a la platea y, entonces sí, miró a los ojos a los asistentes, les dio la mano y se convirtió en
anfitriona absoluta del auditorio.

Aunque como broche resultaba perfecto, por aquello de que no hay dos sin tres, y Estrella Morente parece predestinada
a repetir este éxito una tercera vez, el público no dejó que se despidiera y clamó por unos bises, que, ya sin música sino
con el coro formado por Enrique Morente Carbonell “Kiki”, Antonio Carbonel y Ángel Gabarre, y atendiendo a la
petición de la audiencia, dedicaron “La bien pagá”.

Tras su paso por Nueva York, Morente proseguirá la que es su primera gira por Estados Unidos recalando en Cleveland
(Ohio), en Berkeley, Sonoma y Los Ángeles (California), Washington y Savannah (Georgia).

© 2014 El Nuevo Herald. All Rights Reserved.

1 de 2 10/04/14 13:49

Dance Listings for March 14-20 - NYTimes.com http://www.nytimes.com/2014/03/14/arts/dance/dance-listings-for-march-14-20.html

http://nyti.ms/1m1rn9p

DANCE

Dance Listings for March 14-20

MARCH 13, 2014

Full reviews of recent dance performances: nytimes.com/dance. A searchable guide to these and other
performances is at nytimes.com/events.

★ Kyle Abraham (Friday through Sunday) Mr. Abraham’s career has taken off in the four years
since he made “The Radio Show.” These days he seems to always be making something new, but for the
92nd Street Y Harkness Dance Festival he revisits that richly layered, propulsive piece, a reflection on
shifting lines of communication in our culture and in his personal life. In keeping with the festival’s
“stripped/dressed” format, he plans to show rehearsal footage and discuss his inspiration before sharing
the finished work. Friday and Saturday at 8 p.m., Sunday at 3 p.m., 92nd Street Y, 1395 Lexington Avenue,
212-415-5500, 92y.org; $25 and $29; sold out on Friday and Saturday. (Siobhan Burke)

Alonzo King LINES Ballet (Tuesday through March 23) Mr. King’s dances are full of lush,
satisfying phrases, expertly executed by his sinuous dancers. His company, based in San Francisco, comes
East with “Constellation,” an exploration of light featuring an installation by Jim Campbell and the
Metropolitan Opera mezzo-soprano Maya Lahyani. Tuesday and Wednesday at 7:30 p.m., Thursday and
next Friday at 8 p.m., March 22 at 2 and 8 p.m., March 23 at 2 p.m., Joyce Theater, 175 Eighth Avenue, at
19th Street, Chelsea, 212-242-0800, joyce.org; $35 to $59. (Burke)

Les Ballets De Monte Carlo (Friday through Sunday) Celebrating 20 years as the artistic director
of this contemporary ballet troupe, Jean-Christophe Maillot brings “LAC,” his adaptation of “Swan Lake,”
to New York for the first time. While the classic story may take some unexpected turns to achieve
“modern-day relevance,” as a news release puts it, the sublime Tchaikovsky score remains intact. Friday at
8 p.m., Saturday at 2 and 8 p.m., Sunday at 3 p.m., City Center, 131 West 55th Street, Manhattan,
212-581-1212, nycitycenter.org; $50 to $100. (Burke)

Ian Spencer Bell Dance (Wednesday and Thursday) In notes for his last piece, “Socket” (2012),
Mr. Bell wrote, “Moving — dancing — is about letting go. It’s about what’s lost: memory, ability, steps,
time.” That contemplative spirit may feed into his new work, “Elsewhere,” which will be performed at the
expansive Martha Graham Studio Theater. At 8:30 p.m., 55 Bethune Street, near Washington Street, West
Village, brownpapertickets.com; $20. (Burke)

★ DanceBrazil (Friday through Sunday) To conclude its three-week affair with Brazilian dance, the
Joyce Theater welcomes back an annual guest and audience favorite. DanceBrazil brings its usual
exuberant blend of throbbing music paired with a generous spectrum of movement. The company’s
singular style draws from contemporary dance, Afro-Brazilian dance and capoeira. Friday at 8 p.m.,
Saturday at 2 and 8 p.m., Sunday at 2 and 7:30 p.m., Joyce Theater, 175 Eighth Avenue, at 19th Street,
Chelsea, 212-242-0800, joyce.org; $10 to $59. (Brian Schaefer)

★ Faye Driscoll (Friday and Saturday) Ms. Driscoll’s company has an extended run of seven nights
at Danspace Project (as opposed to the usual three) for her latest work, “Thank You for Coming.” Known
for thrusting performers (and audiences) into physically raw, emotionally heated situations, she explores
what it takes for individuals to form a collective body in this new piece for five daredevil dancers. At 8
p.m., Danspace Project, St. Mark’s Church, 131 East 10th Street, East Village, 866-811-4111,

1 de 3 10/04/14 13:40

Dance Listings for March 14-20 - NYTimes.com http://www.nytimes.com/2014/03/14/arts/dance/dance-listings-for-march-14-20.html

movement. Trying to keep up (and most likely succeeding) will be the 10 extraordinary members of his
London company, Random Dance. Saturday and Sunday at 3 p.m., Thursday and next Friday at 7:30 p.m.,
March 22 at 8 p.m., March 23 at 3 p.m., Alexander Kasser Theater, Montclair State University, Montclair,
N.J., 212-592-2145, peakperfs.org; $20 (Burke)

Rocío Molina (Thursday through March 22) Part of the vanguard of the evolving tradition of
flamenco, Ms. Molina, known for her wild performances, offers the United States premiere of “Afectos.”
She conceived the program with her frequent collaborator, the singer Rosario Guerrera, who goes by
Rosario “La Tremendita.” Together, they should be tremendous indeed. At 8 p.m., Baryshnikov Arts
Center, 450 West 37th Street, Manhattan, 646-731-3200, bacnyc.org; $25. (Burke)

★ Movement Research at Judson Church (Mondays) In this weekly gathering, Movement
Research, an organization committed to physical exploration in all forms, welcomes viewers to observe
work in its embryonic stage. The artists on the docket this week are Lawrence Graham-Brown,
Losquequedan, Rebecca Warner and Tara Aisha Willis. (Through June 16.) At 8 p.m., Judson Memorial
Church, 55 Washington Square South, 212-598-0551, movementresearch.org; free, but seating is limited.
(Schaefer)

Jody Oberfelder Projects (Thursdays through Saturdays) Ms. Oberfelder remounts “4Chambers”
— which she previously presented on Governors Island — at the repurposed hospital wing now known as
Arts@Renaissance, an appropriate location for what she calls “a sensorial journey into the human heart.”
Taking cues, perhaps, from popular immersive shows like “Then She Fell,” this installation unfolds in a
series of corridors and rooms for no more than 12 audience members at a time. (Through March 22.)
Thursdays at 6:30 and 8 p.m., Fridays and Saturdays at 7 and 8:30 p.m., 2 Kingsland Avenue, at Maspeth
Avenue, Williamsburg, Brooklyn, 866-811-4111, renaissancenbk.org; $75; some shows are sold out.
(Burke)

Rubberbandance Group (Thursday through March 22) Victor Quijada, the founder of this group
from Montreal, finds common ground between the hard edges of break dancing and the fluidity of ballet in
his loosely narrative work. The troupe, which Mr. Quijada directs with the mercurial dancer Anne
Plamondon, makes its New York debut as part of the Pace Presents series. At 7:30 p.m., Michael Schimmel
Center for the Arts, Pace University, 3 Spruce Street, between Park Row and Gold Street, Lower
Manhattan, 866-811-4111, schimmel.pace.edu; $25 to $40. (Burke)

★ Paul Taylor Dance Company (Friday through March 30) This company’s three-week 60th
anniversary season will exhibit an extraordinary collection of Mr. Taylor’s prolific output, including
“Fibers,” from 1961, and the premiere of “Marathon Cadenzas.” Among the other works: the New York
premiere of “American Dreamer” and classics like “Mercuric Tidings” and “Cloven Kingdom.” Fridays at 8
p.m., Saturdays at 2 and 8 p.m., Sundays at 2 and 6 p.m., Tuesdays through Thursdays at 7 p.m., David H.
Koch Theater, Lincoln Center, 212-496-0600, ptdc.org, davidhkochtheater.com; $10 to $160. (Schaefer)

A version of this schedule appears in print on March 14, 2014, on page C18 of the New York edition with the headline: The Listings:
Dance.

© 2014 The New York Times Company

3 de 3 10/04/14 13:40

Dance Listings for March 7-13 - NYTimes.com http://www.nytimes.com/2014/03/07/arts/dance/dance-listings-for-march-7-13.html...

http://nyti.ms/P66Lj6

DANCE

Dance Listings for March 7-13

MARCH 6, 2014

Full reviews of recent dance performances: nytimes.com/dance. A searchable guide to these and other
performances is at nytimes.com/events.

★ Bill Chats (Sunday) Whether it’s helpful, accurate or even necessary, there exists a distinction in
dance between “uptown” and “downtown,” referring to geographic location as well as aesthetic interest
and philosophical intention. In the second assembly of his new discussion series, the choreographer Bill T.
Jones welcomes a panel of artists and writers to explore the birth and development of the “downtown”
scene from the 1960s to the ’80s and its lasting impact on dance. The talk will be streamed live at
2ndline.tv. At 5 p.m., New York Live Arts, 219 West 19th Street, Chelsea, 212-691-6500,
newyorklivearts.org; free. (Brian Schaefer)

The Current Sessions (Friday through Sunday) Since 2011, the Current Sessions has championed
and presented new and midcareer choreographers with a stated focus on curiosity and innovation in
contemporary dance. The fourth iteration of this showcase series features 12 artists in four mixed and
matched programs that blend theater, performance art, media and technology. Friday and Saturday at
7:30 p.m., Sunday at 3 and 6:30 p.m., Wild Project, 195 East Third Street, East Village, 866-811-4111,
thecurrentsessions.com; $20, $15 for students and East Village residents; $30 for double-feature Sunday.
(Schaefer)

★ DanceBrazil (Wednesday through March 16) To conclude its three-week affair with Brazilian
dance, the Joyce Theater welcomes back an annual guest and audience favorite. DanceBrazil brings its
usual exuberant blend of throbbing music paired with a generous spectrum of movement. The company’s
singular style draws from contemporary dance, Afro-Brazilian dance and capoeira, that smooth-as-silk
concoction of martial art, acrobatics, dance and playful combat. Wednesday at 7:30 p.m., Thursday and
Friday at 8 p.m., Saturday at 2 and 8 p.m., Sunday at 2 and 7:30 p.m., Joyce Theater, 175 Eighth Avenue,
at 19th Street, Chelsea, 212-242-0800, joyce.org; $10 to $59. (Schaefer)

★ Faye Driscoll (Friday through March 15) Ms. Driscoll’s company has an extended run of seven
nights at Danspace Project (as opposed to the usual three) for her latest work, “Thank You for Coming.”
Known for thrusting performers (and audiences) into physically raw, emotionally heated situations, she
explores what it takes for individuals to form a collective body in this new piece for five daredevil dancers.
At 8 p.m., Danspace Project, St. Mark’s Church, 131 East 10th Street, East Village, 866-811-4111,
danspaceproject.org; $20, $15 for members. (Siobhan Burke)

Flamenco Festival (Friday through Sunday) An annual tradition at City Center, this year’s festival
has been directed by Ángel Rojas and features young and veteran flamenco stars: Antonio Canales, Carlos
Rodríguez, Karime Amaya and Jesús Carmona. This weekend, those artists will step aside for the powerful
soloist Eva Yerbabuena, who offers two programs: the new production “Ay!” on Saturday and her
acclaimed “Lluvia” on Sunday. Free dance lessons will precede each night’s performance. Friday and
Saturday at 8 p.m., Sunday at 7 p.m., City Center, 131 West 55th Street, Manhattan, 212-581-1212,
nycitycenter.org; $25 to $110. (Burke)

Focus Cia de Dança (Saturday through Monday) The Brazilian singer-songwriter Roberto Carlos is

1 de 3 14/04/14 13:45

Contemporary flamenco, in all its flavors, gets showcase - Theater & art - The Bosto... http://www.bostonglobe.com/arts/2014/03/06/contemporary-flamenco-all-its-flavors-...

You can now read 10 articles each month for free on BostonGlobe.com.

Theater & art

A showcase of flamenco, in all its flavors

By Karen Campbell | GLOBE CORRESPONDENT MARCH 06, 2014

YI-CHUN WU

World Music/CRASHart brings the Flamenco Festival, including Karime Amaya (above), to Boston for the 14th year.

For going on 14 years, World Music/CRASHarts has been warming up cold nights with the heat of flamenco.
Flamenco Festival 2014 brings two concerts from Spain that embrace the range of the art form.

“Stars of Flamenco” March 8-9 features six dancers and seven musicians, showcasing the contrasting dance styles
of veteran powerhouse Antonio Canales, Carlos Rodríguez (Nuevo Ballet Español), Karime Amaya (grandniece of
Carmen Amaya), and young dynamo Jesús Carmona.

CONTINUE READING BELOW ▼

A March 16 concert by the Tomatito Sextet marks the Boston debut of José Fernández Torres (Tomatito), one of
the world’s top flamenco guitarists, along with his musicians and dancer Paloma Fantova.

Both productions are curated by Miguel Marin, artistic director of Flamenco  Festival  2014
the Flamenco Festival, an organization that tracks the pulse of the
art form in Spain and packages groups of Spanish artists to tour Berklee Performance Center,
internationally. He has been involved with World
Music/CRASHarts’s annual flamenco celebrations since the very Performing company: Stars of Flamenco
beginning. He is especially excited by the opportunity with “Stars andTomatito Sextet
of Flamenco,” directed by Ángel Rojas, to present a diverse slate of
flamenco artists from different generations. Marin spoke with the Also performing: World Music, CRASHarts
Globe recently via phone.
1 de 3 10/04/14 13:39

Contemporary flamenco, in all its flavors, gCetOsNsThIoNwUcEasReE-ATDhINeGateBrE&LOaWrt ▼- The Bosto... http://www.bostonglobe.com/arts/2014/03/06/contemporary-flamenco-all-its-flavors-...

Q. Antonio Canales is really the star and anchor of the gala, isn’t First performance: Stars of Flamenco, March
8-9 Tomatito Sextet, March 16

he? Why has he been so influential? Ticket price: Tickets $30-$79

A. He is one of the artists who has innovated a lot in flamenco and Company website: http://www.worldmusic.org
opened a lot of doors. He has such charisma, such stature. Just by

his presence, he is able to communicate so much. He moves with

such intention, he doesn’t need fast footwork to be in the heart of

the people. He has always had maturity and power. Now he is 52,

and he still has that presence. All the dancers on the program have been inspired by Antonio, and they are so

happy to be on the same program. It’s very rare to see all these artists who have their own companies performing

together.

Q. You’ve called Karime Amaya and Jesús Carmona the most important of the flamenco artists coming up now.
I’m really knocked out by Carmona, who has these brilliant, flamboyant spins and leaps as well as dazzling
footwork.

A. He was one of the principal dancers of the National Ballet of Spain [Ballet Nacional de España] and you can see
his training. What makes him so special is he combines his technique with deep emotion. You can see the
connection, otherwise it would just be footwork, meaningless with no soul. He is very explosive, a virtuoso, but he
also has what we call duende, that magic presence.

Q. And Karime comes from the ethnic gypsy tradition of her great-aunt, the legendary Carmen Amaya.

A. She was born in Mexico, and it’s amazing to see how she’s been able to keep that style alive, but she has made it
her own style in her body. She is only 26. She is going to be the next big star in flamenco. She has footwork speed
— I don’t know how she does it.

Q. What does Carlos Rodríguez bring to the table?

A. He is a choreographer and brings in technique that is closer to ballet, more like the wind than the earth. He
brings in another style of flamenco and represents the next generation and influence of Spanish classical dance in
flamenco.

Q. How has flamenco changed over the past 20 years, and where is it going?

A. We are now living in the golden age of flamenco. All these limitations from traditionalists are broken, and
artists are finding a way to communicate and express themselves freely in flamenco. You can see traditional, but
also more balletic, contemporary, experimental. It allows this wide range of expression. In the past, you could only
see traditional flamenco, but artists have to find their own way. They listen to different music and have found a
balance that is honest with the art form and with today, and that’s what keeping flamenco alive. Before, people
around the world only wanted to see the Gypsy dance, but that was the part of the lifestyle of some Gypsy families.
That is not the widest part of flamenco today. I am happy to see artists today have the courage to do what they have
to do and express themselves.

Q. The relationship between musicians and dancers is at the heart of flamenco. It seems like every flamenco
performance is a big party onstage.

A. Totally. I can tell you every show is a new, different experience, and everyone is involved in the energy that is

needed. The harmony and melody are created by the guitarist, but we need a certain energy from the singing and

clapping. In flamenco, the musician follows the dancer, who sets the tempo. In every piece, the dance creates a

structure, and within that structure the musician sings whatever lyrics come to him that are part of that particular

style, and the dancer has so many variations he can improvise. It’s very much in the moment and unpredictable,

which is what makes it so exciting.

2 de 3 10/04/14 13:39

Contemporary flamenco, in all its flavors, gets showcase - Theater & art - The Bosto... http://www.bostonglobe.com/arts/2014/03/06/contemporary-flamenco-all-its-flavors-...
Q. What does someone who has never seen flamenco need to know to really appreciate it?

A. You don’t need to understand anything. The art form is very direct. It’s not intellectual. You just need to feel it.
There’s no story. It’s about basic human emotions. Not long ago, we did a music concert in China, and it was
surprising how the audience connected with the singer, even if they didn’t understand what the singer was saying. I
recommend people let themselves be taken by the emotion. I hope they connect with that dimension that is beyond
ourselves — that spirit, that magic, that energy, to have an experience with something divine.

This interview has been condensed and edited. Karen Campbell can be reached at [email protected].

© 2014 BOSTON GLOBE MEDIA PARTNERS, LLC

3 de 3 10/04/14 13:39





CAL Performances Presents Eva Yerbabuena And Dazzling Vocalist Estrella Morente... http://www.sanfranciscosentinel.com/?p=172372

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CAL Performances Presents Eva Yerbabuena And Dazzling
Vocalist Estrella Morente

Two of Spain’s most thrilling and celebrated performers, Eva Yerbabuena and Estrella Morente come to Zellerbach Hall with
two separate March performances set just days apart. Both artists embody a fierce contemporary spin on the distinctive
features of flamenco. On March 12 at 8:00 p.m., Ballet Flamenco Eva Yerbabuena takes the stage with explosive footwork,
powerful movements, and innovative choreography. Yerbabuena is the winner of six major Spanish choreographic awards and
has performed worldwide in venues such as the Sydney Opera House, Theâtre de la Ville, and Opera de Dusseldorf. “At the
heart of her performance is a fierce, dark rigour that accumulates a thrilling power,” wrote London’s The Independent. Flamenco
vocalist Estrella Morente appears two days later on March 14 at 8:00 p.m. with a program consisting of “Pregón de Las Moras,”
“La Habanera Impossible,” and “La Estrella” from her Grammy-nominated Autorretrato (2012), among other pieces. Yerbabuena
and Morente will be flanked by world-class accompanists—guitarist Paco Jarana and four members of the Carbonell family,
respectively.

In her innovative choreography, Eva Yerbabuena revitalizes traditional flamenco using new dynamic structures without
sacrificing the rhythmic intensity and dramatic aspects of the style. She connects with the music on an emotional level and
embodies the soulfulness essential to flamenco. Yerbabuena has been dancing flamenco professionally for nearly 20 years. In
1998 she formed her own dance company, the Eva Yerbabuena Ballet Flamenco, which has toured in Brazil, Chile, England,
France, India, Japan, Peru, South Korea, and the United States. The program’s feature work, “Lluvia,” translates to “Rain.”
“Born on a gray day of pure melancholy,” Yerbabuena says this original, moving work “is a tribute to melancholy and coldness,
to being alive, to the endlessness of life.” She has won three MAX Stage Arts Awards (2004, 2005, and 2010) and has achieved
lifetime honors including the Spanish Ministry of Culture’s Premio Nacional de Danza (2001), the Andalusian Medalla de Cultura

1 de 3 14/04/14 14:08

CAL Performances Presents Eva Yerbabuena And Dazzling Vocalist Estrella Morente... http://www.sanfranciscosentinel.com/?p=172372

(2007), and Premio Compás del Cante (2010).

The Grenada-born daughter of flamenco singer Enrique Morente and dancer Aurora Carbonell, Estrella Morente has been
performing since age seven and made her solo debut at 17. With a wealth of knowledge, background, and intuition that only her
musically-inclined family could provide, Morente is not averse to combining popular and traditional sounds in the same
program. “Every time Estrella takes a stage to sing, the place becomes a theatre or an arena, whether in a tablao, on film, or in
any performance,” said director and producer Fernando Trueba. “She is archaic and futuristic at the same time.” Mujeres
(2006), her third album, was nominated for a Latin Grammy award. Prior to this nomination, Morente was best known in the
United States for contributions to Pedro Almodóvar’s film Volver (2006), which featured actress Penelope Cruz. She was again
shortlisted for a Latin Grammy award this past year for her 2012 album Autorretrato.

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BWW Reviews: Feelings & Flamenco's Feminine Mystique - BWWDanceWorld http://www.broadwayworld.com/bwwdance/article/BWW-Reviews-Feelings-Flamen...

undefined

by Melia Kraus-har March 25 http://www.broadwayworld.com/bwwdance/article/BWW-Reviews-Feelings-Flamencos-
Feminine-Mystique-20140325

Dancer Rocio Molina and vocalist Rosario La Tremendita transformed flamenco as
feminist and
modern in Afectos (Feelings), their U.S. Premiere on March 21st. Accompanied by
double bassist Pablo Martín, Molina and Tremendita captivated at Baryshnikov Arts
Center (BAC). With sensuous simplicity, they claimed their place in a tradition
predominantly guided by the male voice in an eclectic program.

Afectos could be considered a young person's guide to an old soul. Molina's cheeky
charisma and youth endeared her as somewhat of a Spanish Shirley Temple. A
sensation since her eleventh birthday, Molina began her career in the company of
bailaora María Pagés. She has since trained and toured internationally with many
other flamenco artists (Israel Galván of note).

The stark set included a rocking chair, overstuffed chair, a few tables, single light
bulbs swaying, instruments scattered across the stage, and a coat rack Molina visited
frequently to transform her look. The design gave off a basement hangout for the
vibes of old friends. Molina took the stage, bright red shoes in hand; Martín plucked
his double bass; Tremendita sat grasping her guitar as Molina whimsically balanced
on a stool, using a second guitar as a prop.

Zen acquired, Molina put on her shoes and shrugged a grey overcoat over her black,
mesh cut-out unitard. The three worked together, but in a less aggressive manner than
most flamenco ensembles. Molina and Tremendita roamed the stage. Martín
synthesized their whispered murmurings to loop breathy echoes from their
microphones, which drew chuckles from the audience. In return, they tapped their knuckles on the sides of the guitars and double
bass in percussive harmony.

The musical heartbeat fluttered as Molina donned a lacy black shawl. She embodied the torment in refusing to bow to social
constructs (16th century Spanish forced conversion to Christianity) as she stepped into the box flooded with light, sadly scraping her
feet against it. She added a hint of rock 'n roll to her exquisite technique as her pelvis sank between her legs in a powerful stance. She
abstracted moonwalking vis-à-vis Michael Jackson. The melancholy voice of Sephardic gypsies resonated; sharply jutted movement
and stuttered vocals emoted the conflict of a beautiful, unyielding woman known to be "of a certain character."

Enough sorrow, Molina time traveled to Cuba in the section Coffee with Rum. She pranced back and forth with Tremendita. Their
percussive instruments expanded to include friendly slaps to the derriere, thighs, and belly. Molina referenced contemporary
movement again, one-upping her own repertoire with pop and lock actions.

Shrouded in smoky blue light, Molina returned to balance upon a stool. Her movement slowed and loosened in her body. In homage
and farewell, Martín laid his double bass in front of her. The feeling? Enchanted by an ingénue, the oversold house rose to its feet
shouting (as it had throughout) "Olé, Olé, Olé!" and "Bravo!"

Photo by Anna Lee Campbell

© 2014 Copyright Wisdom Digital Media. All Rights reserved.

1 de 1 10/04/14 13:13

BWW Reviews: Eva Yerbabuena at 2014 Flamenco Festival - BWWDanceWorld http://www.broadwayworld.com/bwwdance/article/BWW-Reviews-Eva-Yerbabuena-...

undefined

by Ali Rosa-Salas March 18 http://www.broadwayworld.com/bwwdance/article/BWW-Reviews-Eva-Yerbabuena-at-2014-
Flamenco-Festival-20140318

Related: Flamenco, Dance, NYC, Eva Yerbabuena, Flamenco Fesitval, City Center

The legendary bailaora Eva Yerbabuena and her company Eva Yerbabuena Ballet
Flamenco transport audiences to the wonder of melancholy in Lluvia (Rain), part of
this year's Flamenco Festival at City Center. A tribute to "...the coldness, to being
alive, to the endlessness of life," this evening length work features Yerbabuena,
Lorena Franco, Mercedes De Córdoba, Christian Lozano and Eduardo Guerrero, set to
live musical accompaniment.

Shrouded in a hazy blue light, a large ensemble of dancers stand still and in profile. A
spotlight shifts our focus to Yerbabuena, who wearing a long red dress, emerges from
the audience and begins a despondent, barefoot walk to the stage. She winds through
the motionless chorus until she begins an energetic, sweeping phrase that brings her to
the floor on her side facing upstage, legs and arms lengthened, feet flexed as if she is
paralyzed by fear. The rest of her company soon joins the phrase in canon; Franco and
Córdoba's hair is long and, like their skirts, dramatically catches the air as they fall to
the ground. Yerbabuena's influence from tanztheater pioneer Pina Bausch is clear in
this sequence. As a choreographer, Yerbabuena's strength lies in her ability to
incorporate a spectrum of movement vocabularies while keeping Flamenco's distinct
sensibilities intact. The duende remains.

Though mediation on the melancholy remains at the core of Lluvia, the traditionally
festive Alegrías, Lluvia de sal, reminds us of the positively transformative power of
deep pain. This section features standout performances by Yerbabuena and her
company members. Eduardo Guerrero seductively moves his hips while his arms curl
and release and around him like ribbons. His braceo (armwork) is rich, floral and
dynamic; he rightfully disposes of any adherence to gender-specific physicality. Celebration of life and its endlessness stretch to
every corner of the stage, and the soaring vocal accompaniment from Jose Valencia, Enrique "El extremeño" and Juan José Amador
rouse infectious ¡olés! and ¡vamos ya! from the audience.

Lluvia ends as it began. The large ensemble returns and once again stands profile. Yerbabuena takes her last walk on stage, then
heads to audience and casually makes her way up the aisle to the back exit. Rupturing the fourth wall, she reminds us that Flamenco
is not a performance; it is life, in all of its sadness and glory.

Photo Credit: Esplanade Theaters on the Bay

© 2014 Copyright Wisdom Digital Media. All Rights reserved.

1 de 1 10/04/14 13:14

Best shows to see: Estrella Morente, Big Business | Bleader | Chicago http://www.chicagoreader.com/Bleader/archives/2014/03/03/best-shows-to-see-estrel...

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MONDAY, MARCH 3, 2014

DO THIS / MUSIC

Best shows to see: Estrella Morente, Big Business

Posted by Leor Galil on 03.03.14 at 12:32 PM

Did you make it through all of the Empty Bottle's outdoor
festival Saturday without losing a single toe to the cold?
Still in the mood to check out some live music? Well,
you're in luck, because there are plenty of shows worth
seeing this week.

Estrella Morente Tonight there's New Young Pony Club at Reggie's Rock
Wishgift at the Whistler. Club and Artist on Artist interviewee Fred Frith at
Constellation. Tomorrow night you can check out Julie
Pomerleau at the Hideout or Mawcrest at Township. On
Wednesday there's Deafheaven at Durty Nellie's and

There are plenty of other concerts to see the next few days—jump over to Soundboard for all
our show listings and read on for a couple picks from Reader critics.

Tue 3/4: Estrella Morente at Symphony Center

Peter Margasak writes that Estrella Morente has been carrying on the legacy of her late
father, iconoclastic flamenco singer Enrique Morente. "On the cover of her most recent
album, 2012's Autorretrato (Parlophone Spain), he's pictured standing behind her, and he
duets with her on the closing track, 'Adagio,'" Margasak writes. "The recording is Estrella's
most diverse and assured, and she uses every track to explore a different interest. The
opening track, 'Pregon de las Moras,' has a minimalist arrangement by English composer
Michael Nyman whose strict, stately orchestral pulse contrasts beautifully with the passion
in Morente's husky, sorrowful voice. Jazz guitarist Pat Metheny fits right in on 'Find Me in
Your Dreams,' and on the clave-driven 'Cuba Cai' bassist Alain Perez lends his expertise at
fusing flamenco and Cuban son. But for me Morente is at her best in more traditional
settings, threading her voice through the stuttering palmas and forceful guitar of, say, 'Como
la Corriente' or 'En un Sueño Viniste,' which features lead guitar by Vicente Amigo (heavies
such as Paco De Lucia and Tomatito also make cameos)."

Wed 3/5: Big Business at Double Door

"Big Business formed in 2004 as the muscular sludge duo of former Karp bassist Jared
Warren and former Murder City Devils drummer Coady Willis, and on their 2005 debut,
Head for the Shallow, they created a lean and pummeling heavy-metal racket," writes Luca
Cimarusti. "The band has had a third member for a couple albums now, and their latest, last

1 de 2 14/04/14 14:00

Beat Latino: Estrella Morente http://www.vivelohoy.com/entretenimiento/8389669/beat-latino-estrella-morente

TEMAS FOTOS VIDEOS ENLACES OPINIÓN ENGLISH

Entretenimiento

Beat Latino:
Estrella Morente

Por Catalina Maria Johnson, 2/19/2014, 10:02 pm

Tweet 5 Me gusta

Fotogalerías

Estrella Morente. GREGORII CIVERA | CORTESÍA EMI El Gran Premio de Bahréin de Fórmula 1 en
MUSIC imágenes

CHICAGO- “Dicen que estamos hechos de lo que Los Tigres del Norte y otros 'rugieron' en el Vive
pensamos, de lo que comemos, de lo que oímos de lo Latino 2014
que sentimos, de lo que palpamos…en mi casa siempre
ha sido el flamenco muy de cerco, si no estaba
predestinada, pues si tenía la ventaja de que allí se
escuchaba todo eso y aprendí a valorarlo”, afirma
Estrella Morente, aclamada cantaora de flamenco de
Granada, España.

Morente es hija del maestro cantaor Enrique Morente y
de la bailaora Aurora Carbonell, además de ser nieta
del guitarrista Montoyita y sobrina del cantaor Antonio
Carbonell y el guitarrista José Carbonell. Comenta por
teléfono desde Madrid lo que es haber nacido en el seno

1 de 4 10/04/14 13:10

Beat Latino: Estrella Morente http://www.vivelohoy.com/entretenimiento/8389669/beat-latino-estrella-morente
Más galerías
de una familia dedicada a ese arte español icónico: Julieta Venegas y Los Amigos Invisibles en
“Doy las gracias por haber nacido en casa en la que se Chicago, 'Jack Sala 7'
venera el arte y de que sigue enriqueciéndose de él y
por él. Yo pertenezco al flamenco”. FoTtoosddae yfic'shaFdeoas etnuerleádreaFdlye Cehriscago

Precisamente se encuentra ella en la capital española
para asistir a un evento que es evidencia del efecto de
su casa en el país y en el mundo, el estreno de una
exposición de escultura y pintura de su madre en
memoria a su padre quien falleció sorpresivamente en
el 2010. Aunque parte de la manifestación del dolor de
la viuda Aurora, además de ser expresión
relativamente nueva para ella, explica Morente que
para todos ha sido “…un descubrimiento fantástico–ha
sacado de su espíritu y su alma una obra maravillosa”.
Más no le sorprende, dice, “Todos tenemos esa
búsqueda, esa iniciativa. No cabe duda que en mi casa
hay aprecio por la cultura y por el arte por la pintura, la
música”.

Su padre también fue figura primordial en Big Lots JCPenney
Autorretrato, la última grabación de la cantaora. El
concepto del álbum fue concebido por él mismo y de Preview the Deals Just Released
hecho pudo participar en la producción hasta pocos
días antes de su muerte. Y de manera similar a como lo MORE CIRCULARS
llegara a hacer su padre, innovando al fusionar el
flamenco con otros géneros, las canciones de la hija Más populares
incorporan músicos invitados como Michael Nyman,
Pat Metheny, Paco de Lucía, Tomatito y Vicente Amigo María Félix: Su filmografía
e incluye no solo estilos flamencos, sino ritmos El Salvador vigila al volcán Chaparrastique y
caribeños y un requiem. mantiene alerta

Detalla Morente esa profunda influencia de su querido Ocho razones para tomar linaza - Vivelohoy
progenitor que se refleja en la grabación de Cierra servicio dental gratuito en Wheton, en
Autorretrato, “Mi padre me hizo libre, respetando lo el condado de DuPage
más hondo, respetar y saborear lo clásico pero
entender lo contemporáneo. Añade con tristeza, “Se
nos quedó casi al final, en un camino interrumpido por
una tremenda tragedia inesperada e injusta”.

Además, declara que dicha grabación es de manera Suscríbete
especial, testimonio de una incondicional devoción a
su arte, “Autorretrato es mirada al interior, mi
agradecimiento a la música y a lo aprendido hasta
ahora. Porque la gratitud y cariño y todo sacrificio es
poco para estar a la altura de los momentos que he
vivido. A la gente le apetece escuchar y eso ya es
mucho hoy día. Estoy orgullosa de pertenecer a un arte
que cuando se exprese de manera sincera llega a
cualquier parte del mundo. Para mi es un tesoro”.

Estrella Morente en concierto

2 de 4 10/04/14 13:10

Bay Area arts and entertainment picks, March 9 - SFGate http://www.sfgate.com/entertainment/article/Bay-Area-arts-and-entertainment-picks...

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Bay Area arts and entertainment picks, March 9

Kathleen Dixon
Published 6:54 pm, Thursday, March 6, 2014

S
FAMILY MUSIC
The Pop Ups
The Grammy-nominated duo returns to perform "Radio Jungle," a comedic musical adventure that turns a Pop Up City into a quest
through the jungles of Mexico. Puppet friends help the Pop Ups find every color of the rainbow in this high-energy, ecological scavenger
hunt filled with bananas, bilingual bats, a subway train full of animals and giant crayons. Stay after the show for food and fun. 10 a.m.
Sunday. Seiler Family Gymnasium, Oshman Family Jewish Community Center, 3921 Fabian Way, Palo Alto. $15-$20. (650) 223-8699,
www.paloaltojcc.org.

SCIENCE EDUCATION
Sid the Science Kid Live
The popular PBS Kids television show produced by the Jim Henson Company comes to life in a stage performance that features Sid and
his friends. The gang is on a mission to discover the excitement and curiosities of the world. Teacher Susie keeps the music flowing as the
kids explore the world around them with interactive activities, cooperative problem-solving and plenty of laughs. 2 and 5:30 p.m. Sunday.
Fox Theater, 2215 Broadway, Redwood City. $25-$33. (650) 369-7770, www.foxrwc.com.

M
READING
'Letter From Birmingham Jail'
Actor and playwright Anna Deavere Smith, violinist Robert McDuffie and pianist Anne Epperson deliver Martin Luther King Jr.'s open
letter from the Birmingham jail. Written in 1963, the letter defends his strategy of nonviolent resistance to racism. In fact, King argued
that people have a moral responsibility to break unjust laws. 7:30 p.m. Monday. Grace Cathedral, 1100 California St., San Francisco.
$30-$150. (415) 392-4400, www.cityboxoffice.com.

T

LECTURE
'The West Without Water'
In 2013, California had its driest calendar year on record. Early this year, Gov. Jerry Brown declared a drought state of emergency. Join
paleoclimatologist B. Lynn Ingram and Frances Malamud-Roam, co-authors of "The West Without Water," for a lecture and discussion.
6:30 p.m. Tuesday. Lafayette Library, 3491 Mt. Diablo Blvd., Lafayette. $7-$15. (415) 597-6700, www.commonwealthclub.org.

W
MUSIC
Tomatito and His Flamenco Sextet
He is the only flamenco artist to win five Latin Grammy Awards. Born José Fernández Torres, Tomatito will be joined by dancer Paloma
Fantova. The ensemble also includes guitarist El Cristi, percussionist Lucky Losado and singers Simón Román and Kiki Cortiñas. 7:30
p.m. Wednesday. Palace of Fine Arts Theatre, 3301 Lyon St., San Francisco. $45-$65. (415) 242-4500,
www.omniconcerts.com/tickets.html.

T
DANCE
Companhia Urbana de Dança
The all-male Brazilian dance troupe blends athleticism with gritty urban dynamism. The troupe's Bay Area debut includes "Id:Entidades,"
exploring a possible dialogue between hip-hop, urban traffic and contemporary dance; and "Na Pista," inspired by the rhythms
experienced by the dancers in Rio de Janeiro. 8 p.m. Thursday-Saturday. Yerba Buena Center for the Arts, 701 Mission St., San Francisco.
$25-$35. (415) 978-2787, www.ybca.org.

1 de 2 14/04/14 14:06

A mother's cry: flamenco star Eva Yerbabuena brings two intimate creations to New York http://blog.nj.com/entertainment_impact_arts/print.html?entry=/2014/02/new_york_...

A mother's cry: flamenco star Eva Yerbabuena brings two intimate creations to New
York

Robert Johnson/The Star-Ledger By Robert Johnson/The Star-Ledger
on February 28, 2014 at 12:39 PM, updated February 28, 2014 at 1:06 PM

‘At each performance I discover something new inside myself that I didn’t
know before," says dancer Eva Yerbabuena. "That’s why I like my work.
That’s why I like movement, the language of the dance or, in this case
flamenco."

Yerbabuena, an award-winning artist who has reached the pinnacle of
Spanish dance, returns to New York City Center with her company as the
prime attraction of the annual New York Flamenco Festival, which takes
place from Thursday to March 9.

Appearing in the one-woman show "¡Ay!" and together with her company in Flamenco dancer Eva Yerbabuena
the evening-length "Lluvia" ("Rain"), she follows on the clicking heels of a
gala opening. That celebration, on Thursday, launches the festival with Ruben Martin
glimpses of several artists including the celebrated Antonio Canales, and
up-and-coming talents like Karime Amaya, from Mexico, and Jesús
Carmona, from Barcelona, both 29 years old.

Yerbabuena says she choreographed "¡Ay!" last year after giving birth to
her second daughter, Marieta. In this deeply personal creation, she recalls her feelings as an expectant mother. "Even the father of the child
can’t understand what it feels like, really, to have a baby inside for nine months — the fear, the love, the unknowns," Yerbabuena says.

This is why she dances the piece as a solo. "I believed it was something one should express alone. There was no other way to do it."

She did have collaborators, however, including violinist Vladimir Dimitrienco, whose music provided New York Flamenco Festival
an unusual point of departure. Where: New York City Center, 55th
Street between Sixth and Seventh
"After nine months plus four months — 13 months, practically, without working — I returned to the avenues
studio without any preconceived idea of what I wanted to do," the dancer says. "The only idea was When: Thursday through March 8 at 8
to lock myself in the studio, and then, that I would love to have a violin in the show. p.m., March 9 at 7 p.m.
How much: $25 to $110; call (212)
581-1212 or visit nycitycenter.org.

"So that’s how it was. I locked myself in with Vladimir, and we began to work together to see what
the sounds of the violin might provoke in me. Not the usual sounds, either. It’s not a familiar melody or a composition, but just sounds that
would stimulate certain movements."

"¡Ay!" also features the voices of three deep-throated "cantaores," including the famous vocalist Enrique "El Extremeño," and the
indispensable guitar of Yerbabuena’s husband, Paco Jarana. The piece is stark, with a minimum of props.

"It’s very black-and-white," Yerbabuena says. "The music and the lighting add the color."

Yerbabuena says that in the ensemble piece "Lluvia," from 2010, she addresses themes of loneliness, silence and incomprehension. The
dance captures the feelings a person might have looking out the window on a rainy day, but goes much further than that in scenes in which
gypsies dancing to "Tanguillos" laugh gaily at their own misfortunes. In another scene the dancers’ gestural vocabulary incorporates sign
language for the deaf.

Yerbabuena reveals that while preparing "Lluvia" she and her company visited La Once, a school for blind and deaf-mute children in Seville.
Speaking of this experience, she says: "Truly it was a very special day for us, above all because you see that they are happy. They smile, and
you understand that they don’t miss things they never had."

"Lluvia" she says, underscores "how important love is."

1 de 2 14/04/14 13:42

A Flamenco of One’s Own | The Dance Current http://www.thedancecurrent.com/column/flamenco-one-s-own
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A Flamenco of One’s Own

By Rosanna Terracciano (/contributor/rosanna-terracciano)

“But what I understand by purity is each (/issue/volume-17-issue-2)
person’s authenticity. Let’s just say that the
audience doesn’t need prior information Digital Edition ( http://ca.zinio.com
about whether you’re more avant-garde or /www/browse/product.jsp?rf=sch&
more flamenco … Purity is what comes out
from within … Each person, each artist productId=500315485 )
creates his own flamenco.” Subscribe (/subscribe)
(Israel Galván interview, 2005, flamenco- Back Issues (/back-issues)
world.com)
Advertisement
I first had the chance to watch Israel Galván
(http://www.anegro.net/israel_galvan LISTINGS THIS WEEK (/listings)
/biografia) perform in 2005 when La Edad
de Oro premiered at the Festival de Jerez in (http://www.candance.ca)
Jerez de la Frontera, Spain. I suppose my
experience was as clichéd as it could get for Principal Event Listings Partner
a Canadian travelling to Spain in pursuit of
her flamenco dreams: a late-night show in (/event-listing/arrabal)Arrabal (/event-listing
the intimate setting of an old church-turned-
theatre set against a backdrop of the narrow, /arrabal) 10/04/14 15:31
winding streets of this magical Andalusian
town. But Israel’s performance was anything Toronto ON
but clichéd that night. I remember being
captivated by his attention to detail,
commitment to movement and unexpected
energy shifts and choreographic choices. He
has since had a profound impact on me as an Israel Galván / Photo by Luis Castilla Fotografia
artist, triggering an ongoing interest in
questioning the boundaries of
flamenco dance.

I had several other chances to watch Israel perform and even study with him at the festival in Spain in
subsequent years. I remember standing in a bar next to the theatre after seeing one of his shows, with a
manchego cheese sandwich drenched in anchovies and olive oil in one hand and a glass of sherry in the
other, overhearing an old man’s conversation next to me. The old man – whom I had earlier watched
angrily walk out of Israel’s show – voiced his disgust over the evening’s performance, describing it as
too intellectual and rigid and lacking in emotion. He was clearly offended. And that’s not the last time I
would experience someone take offence to Israel’s work.

For flamenco purists, Israel’s work can be a hot topic of discussion, raising questions about definitions
of flamenco and creative freedom within a structured form so rooted in tradition. Based on what I’ve
learned about Israel, his intention is not to purposely be different or innovative, but instead to create
sincerely, based on his deep devotion to the flamenco tradition. The idea of authenticity is central to
Israel’s work. As authenticity is critical to any art practice, his approach inadvertently opens the doors

1 de 4

A Flamentcoothofe Oponess’sibOilwitnie|sTohfeflDaamnecnecCoudrraenncte as an art form, beyond just folkloric or cultural representation. http://wwFwe.bthreudaarnyc4ec-2u0rreanvtr.cilo2m0/1co4lumn/flamenco-one-s-own

His work becomes a necessary demonstration of how authenticity can find space within a traditional

art form. (/event-listing/hercules)Hercules (/event-
listing/hercules)
I was excited to learn that Israel was returning to Canada, this time adding stops in Vancouver, Toronto
and Ottawa, in addition to a return to Montréal. I believe there is room for growth for flamenco dance Canadian Opera Company
in Canada, and I think audiences here have much to gain from exposure to approaches to flamenco
dance like Israel’s. This type of work raises questions and challenges expectations, which eventually Toronto ON

April 5-30 avril 2014

leads to an audience that begins to ask more questions. These are the steps toward an improved critical (/event-listing/concordia-contemporary-
dialogue regarding flamenco dance in Canada, which is absolutely necessary for the art form and the dance-performances)
practising artists here to have space to grow, and for flamenco to gain an increasingly informed Concordia Contemporary
recognition within the Canadian dance landscape. Dance Performances (/event-listing

La Edad de Oro is a seemingly simple show that honours the trinity of song, guitar and dance, which is /concordia-contemporary-dance-
at the root of the flamenco tradition, while propelling the audience into the complexity of Israel’s performances)
approach to flamenco dance. Yes, as a performer, Israel deserves to be hailed for his technical mastery, Concordia University Dept. of

musicality and precision in movement, and his work can justifiably be described as innovative,

avant-garde and genius. Whether or not an audience likes Israel’s work I don’t think matters. What I do

think is most important to take away from Israel’s performances is his courage to work comfortably

with risk and boldly carve out his own unique artistic path. I wish more flamenco artists did the same.

I remember Israel as a seemingly quiet, unassuming man with a slight stutter and air of shyness and
humility about him, who walked into class one day at the Festival de Jerez, appearing uneasy as his
students applauded his performance from the previous night. I saw an artist then who showed traces of
vulnerability matched with a strong artistic voice and need for personal expression. In that moment, I
began to uncover my flamenco. And everything changed.

Calgary flamenco artist Rosanna Terracciano was invited by the Vancouver International Dance
Festival (http://www.vidf.ca/israel-galvan/)to share her thoughts on Israel Galván for his March 22 &
23 performances of Edad de Oro at the Vancouver Playhouse. We share them here with kind
permission. Galván performs at the National Arts Centre in Ottawa on March 18, at Koerner Hall in

Toronto on March 29 and at Place des Arts in Montréal on March 30.

Posted March 24, 2014

TAGS
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galv%C3%A1n)
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Touring (/tags/touring) Festival de Jerez (/tags/festival-de-jerez) Israel Galván (/tags/israel-galv-n)

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“Full surround sound and free (/video/ick-stedelijk- Esmeralda Enrique Spanish
range of motion while I work museum) Dance Company

This week the International Toronto ON

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365 things to do in Cleveland in 2014: Your ultimate arts and entertainment guide http://blog.cleveland.com/ent_impact_home/print.html?entry=/2014/01/365_things_...

365 things to do in Cleveland in 2014: Your ultimate arts and entertainment guide

365.jpg
How many of these 365 things to do in Cleveland can you mark off your list in 2014? (Chris Morris, The Plain Dealer)
Laura DeMarco, The Plain Dealer By Laura DeMarco, The Plain Dealer
Email the author | Follow on Twitter
on January 02, 2014 at 7:59 AM, updated January 07, 2014 at 3:42 PM
What are you most looking forward to in 2014? Share your suggestions in the comments field below.

There's more to do in Cleveland than any one person will have time for – but why not try? Read on for 365 things to enliven your 2014, from
family events to concerts, from movies and museum shows to sporting fun, eating out and much, much more. And share your suggestions in
the comments field below.

1. Skate through the season at the rink at Wade Oval, open through March 9.

2. Celebrate the new year and new West Wing at the Cleveland Museum of Art with activities Jan. 2 to 4, including games, talks and a
"The Lion, the Witch, and the Wardrobe" art tour.

3. See the potential Lindsay Lohan wasted when "Mean Girls" screens at the Cedar Lee Theatre Late Shift Series on Jan. 4.

4. Fix it with Bob at the Children's Museum of Cleveland, Jan. 4, 12 and 25.

5. Make your night sparkle with a bottle of the bubbly at the effervescent Champagne Bar at Pickwick & Frolic on East Fourth Street.

6. Enjoy one last chance to see the gorgeous trees, gingerbread houses and family activities of the Glow exhibit at the Cleveland Botanical
Garden, through Jan. 5.

7. Roll old-school at Yorktown Lanes in Parma Heights for Friday night '80s retro bowling.

8. Groove to the life and times and beats of Jay-Z, Jan. 8 at The Q.

9. Spice up your winter with a Mexican hot chocolate at Civilization Coffee House in Tremont.

10. Try your luck at the Horseshoe Casino.

11. Laugh at Hilarites – called one of the best comedy clubs in the nation – inside Pickwick and Frolic on East Fourth Street.

12. Hit the slopes at Brandywine or Boston Mills.

13. Put your night on ice at a Cleveland Monsters match.

14. Spend a full Cleveland Saturday with a pierogi and Polish sausage dinner at Sokolowski's University Inn in Tremont.

15. Party with your little princesses at Disney on Ice at The Q, Jan. 10-19.

16. Make a match with "Yentl," when Isaac Bashevis Singer's short-story-turned-play comes to the Cleveland Play House, Jan. 10-Feb. 2.

17. Say "opa!" to the stellar late-night Happy Hour at the Mad Greek in Cleveland Heights.

18. Visit a local winery.

19. Chew on a local legend with a burger from Stevenson's Bar in Euclid.

20. Pay homage to "Pier Paolo Pasolini: Poet and Provocateur" at the Cleveland Institute of Art Cinematheque's series, Jan. 11-Feb. 23.

1 de 14 09/04/14 12:36

365 things to do in Cleveland in 2014: Your ultimate arts and entertainment guide http://blog.cleveland.com/ent_impact_home/print.html?entry=/2014/01/365_things_...

100. Be dazzled by the moves of Ballet Flamenco Eva Yerbabuena, one of the world's great dancers, March 5 at the Cleveland Museum of
Art.
101. Feel Shakespeare roll over in his grave, at Cleveland Public Theatre's "Titus: A Grand and Gory Rock Musical," March 6-22.
102. Open your eyes to what's new at MOCA with the museum's all-ages Winter Exhibition Opening Party March 7.
103. Get a ticket early for the world premiere of Joel Hammer's "Made in America" at Dobama Theatre, March 7-April 26.
104. Spend a serious night with "Monuments Men" on March 7, George Clooney's story about of one platoon's attempt to reclaim stolen Nazi
artworks.
105. Say Na zdravje with an import brew at the place where old Cleveland meets new: the revamped Sterle's Country House on East 55th
Street.
106. Toast the new nightlife scene on East Fourth Street with a classic cocktail at Society Lounge.
107. Hop over to the Children's Museum of Cleveland's "Mardi Gras Bayou Adventure with Princess Tiana," March 8.
108. Sweeten your day at Maple Sugaring Weekend, March 8 and 9, and 15 and 16, at Lake Metroparks Farmpark, Kirtland.
109. Score at the FirstEnergy Mid-American Conference (MAC) Men's & Women's College Basketball Tournaments at The Q, March 12-15.
110. Spend a musical night with CityMusic Cleveland's new series focusing on the Cleveland immigrant experience, March 12-16.
111. Bounce around with the kids at the Jumpyard indoor play park in North Royalton.
112. Imagine yourself on the open road when Dreamworks' "Need for Speed" opens in area theaters March 14.
113. Go green at the 147th St. Patrick's Day Parade, March 17 on Superior Avenue.
114. Start off St. Paddy's Day egg-and-keg hopping at Kamm's Corners.
115. Toast the wearing o' the green at one of Cleveland's most authentic Irish pubs, Parnell's on Lee Road in Cleveland Heights.
116. Spend a meditative evening with the Sufi devotional music of Asif Ali Khan, March 19 at the Cleveland Museum of Art.

117. Give the kids some crafty fun at the Cleveland Museum of Art's family-friendly Second Sundays events.

118. Travel the world from your theater seat at the 38th Cleveland International Film Festival, March 19-30 at Tower City Cinemas.

119. Get to "Sesame Street Live!" at PlayhouseSquare March 20-23.

120. See what happens when you are "Divergent" when the futuristic sci-fi starring Shailene Woodley opens March 21.

121. Get all shook up with the Rock and Roll Hall of Fame and Museum's new Elvis exhibit, featuring more than 40 items on loan from
Graceland.

122. Think big when the Cleveland Botanical Garden hosts "Big Spring," March 22-April 27, featuring the Ladybug Labyrinth hedge maze,
larger-than-life flowers, the Mad Hatter Tea Party and more.

123. See where it all started – Cleveland, that is – with a visit to Settler's Landing.

124. Dance in the fountain or take in a treehouse storytime at the Hershey Children's Garden at the Cleveland Botanical Garden, open March
22-Oct. 31.

5 de 14 09/04/14 12:36

{Dd} Response: ‘Gala Flamenca’ at City Center | DIYdancer http://www.diydancer.com/dd-response-gala-flamenca-at-city-center/

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{Dd} Response: ‘Gala Flamenca’ at City Center

by ALEJANDRA IANNONE on Mar 23, 2014 • 10:23 am No Comments

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On March 8, 2014, I attended the opening night performance of “Gala Flamenca,” the first of two programs in the wilson modern dance music national dance day
Flamenco Festival 2014 at New York’s City Center. Though I was looking forward to the hour and forty minutes of
flamenco music and movement ahead (no intermission!), I wondered how the company would be able to hold an nicole cerutti performance
audience for that amount of time. As I left the theater that evening, my sense was that the program — considered
both as a whole and as separate sections — would have been more engaging if it had been more focused and photography Rebecca Hadley recipe review
succinct.
stephanie wolf tammi shamblin
Arresting lighting cues, eye-catching costumes, extreme shifts in sound volume, and striking movement phrases
throughout “Gala Flamenca” made it a dramatic and emotionally-charged theatrical experience. At times, I was video writing
moved by what I saw, even inclined to interact with the performers somehow. Nonetheless, especially at the
one-hour mark, I felt detached and uninterested in what was going on. I checked my phone, while others checked OUR TWEETS
out entirely and left.

As the performance progressed so did the moods of the songs and dances, which shifted from darkness to lighter,
though never entirely light. The program consisted of ensemble, solo, and duet dances presented in tandem with
songs, melodies, and rhythms performed by the singers and instrumentalists onstage. Every member of the cast
appeared thoroughly invested in the experience, all seeming to move, sing, and play from the depths of their souls.

In flamenco music and dance, the interaction between performers is vital to the form. There is a fundamental link
between sound and movement, and the lines between these two categories are blurry. “Gala Flamenca” was no
exception. Though all of the performers were billed as a dancer, singer, or instrumentalist, their separation of roles
was not so cut-and-dried. Singers would step into the circle of dancers and improvise movement of their own.
Instrumentalists would lend their voices to the songs being sung. And the dancers’ snapping fingers, clapping
hands, and stamping feet drove the program forward with rhythmic, pulsing energy.

1 de 4 14/04/14 13:56

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The choreography suggested an attempt to fuse flamenco movements with those found in other dance genres.
Sometimes, this interdisciplinary approach was pleasantly thought-provoking. At other times—for example, the
fourth time that a quintuple, parallel pirouette to the right was tacked onto the end of flamenco phrase—it was
distracting and off-putting.

The dancers, who ranged in age and movement training, dealt differently with this fusion of movement styles.
Some of the dancers were most comfortable, or at least most experienced, executing classical flamenco
movements, while others were inclined to let modern, jazz, and contemporary movement styles influence their
approach to executing steps. The most notable dissimilarity was the way the dancers carried their backs. Even
when the choreography called for a drop or downward curve of the spine, only some allowed their backs to bend
deeply and their weight to fall fully.

Photo by Yi-Chun Wu 14/04/14 13:56
Carlos Rodriguez and Karime Amaya gave particularly impressive solo performances. Rodriguez’s movement
—clear and fresh without distracting ornamentation—is nicely complemented by his genuine approach to engaging
with an audience. Amaya, a strong, captivating dancer, commanded my attention as she moved through nuanced,
detailed, and technically stunning footwork series.

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{Dd} Response: ‘Gala Flamenca’ at City Center | DIYdancer http://www.diydancer.com/dd-response-gala-flamenca-at-city-center/

Photo by Yi-Chun Wu

As I am not a trained musician, I cannot offer much of an assessment of the singers’ and instrumentalists’
performances. I can report, however, that the sounds they produced were not always balanced or blended.

Certain aspects of this performance left me puzzled. Over the course of the program, dancers regularly missed
their lighting marks or didn’t stay within them. Some projected their performances to the balcony and mezzanine,
others only to the orchestra, and still others appeared oblivious that there was any audience at all. Hairpins went
flying, hairpieces flew across the stage, and hairstyles grew more and more disheveled. These sorts of events are
unprofessional, and for that reason, unexpected in a traditional theater setting. Since the dancers on stage were
highly skilled and experienced performers, it seemed odd to me that they wouldn’t have considered these relatively
fundamental elements of performance in a theater.

I was similarly perplexed by the behavior of the audience. Many audience members came in late, others (including
the show’s director) used their phones to snap mid-performance photos, and some even loudly argued with their
neighbors about alleged invasions of personal space. For some— like the man who loudly whispered a request
that the person seated next to him stop taking photos with his phone—these kinds of behavior are unacceptable in
a theater. With all of this as the backdrop for the events onstage, I couldn’t help but wonder, “Am I missing
something here?”

Though I mostly enjoyed my experience at “Gala Flamenca,” I still have the sense that something was being lost
on me.

Written by Alejandra Iannone

Alejandra is a dancer, philosopher, and educator who lives and works in
New York City. She is a cum laude graduate of the Fordham University/Ailey School
B.F.A. program in New York City, NY, and has had the honor of dancing works by
various choreographers, including Take Ueyama, Jacqulyn Buglisi, Neil Ieremia, and
Donna Salgado. She is a faculty member at The Ailey School—Junior Division, where
she teaches creative movement and ballet and teaches at Astoria Fine Arts Dance + Fitness.
Alejandra also holds an M.A. in Philosophy from Temple University, where she did work in the
areas of Aesthetics, Philosophy of Dance, and Philosophy of Mind. She is an adjunct lecturer at
The City College of New York, where she teaches philosophy.

Whether she is working in philosophy, dance, or some combination of the two, Alejandra
is interested in asking and perhaps answering questions about embodied knowledge.

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“Tomatito” cierra festival de flamenco || El Tiempo Latino | Noticias de Washington DC http://eltiempolatino.com/news/2014/mar/14/tomatito-cierra-festival-de-flamenco/

“Tomatito” cierra festival de flamenco

El martes 18 de marzo en el Lisner Auditorium de la Universidad George Washington en DC

DC. El guitarrista José Fernández Torres se presenta el martes 18. | EFE

El guitarrista de flamenco José Fernández Torres, conocido como “Tomatito”, cierra el martes 18 el Festival de Flamenco en
Washington DC, que presentó a varios reconocidos artistas de este género en el Lisner Auditorium de la Universidad George
Washington.

El tour anual Flamenco Festival 2014 inició este mes en Miami, seguido de DC y continúa por 24 ciudades de los Estados Unidos y
Canadá.

La fiesta anual, que nació en 2001 en Nueva York, se lleva a cabo en medio de un luto por uno de los grandes exponentes del flamenco,
el guitarrista Paco de Lucía, quien falleció de un infarto el 25 de febrero. Lucía tenía 66 años.

El festival en DC abrió el 4 de marzo con una “Gala Flamenca”, dirigida por Ángel Rojas, en la que se presentó el maestro Antonio
Canales, el coreógrafo, Carlos Rodríguez; la mexicana, de ascendencia española Karime Amaya y la joven estrella del flamenco Jesús
Carmona.

Al iniciar el tour, Rodríguez dijo que en todos sus espectáculos “dejarán bien claro la persona tan influyente que fue Paco de Lucía para
todos nosotros”.

Por su parte, el maestro Canales lamentó que “el flamenco se haya quedado huérfano” con la partida de Lucía.

A la lista de presentaciones siguió el 7 de marzo “Lluvia” de Ballet Flamenco Eva Yerbabuena.

Y este martes 18 cierra el festival “Tomatito”, quien también hará un homenaje a Lucía.

“Tomatito” —apodo que adquirió por su padre, también llamado Tomate, y el de su abuelo, Miguel Tomate— empezó su carrera
musical desde niño.

El guitarrista se inició participando en los festivales flamencos andaluces y poco a poco se hizo conocer al acompañar, desde muy
joven, a famosos cantaores como Enrique Morente y La Susi.

La presentación será a las 8pm en el Lisner Auditorium ,730 21st St. NW. Washington. Más información: 202-994-6800.

Also of interest

Festival de flamenco enciende Washington

1 de 2 15/04/14 10:45