Press Clipping 2018

Flamenco Festival New York
Press Clipping
2018











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Review: Tapping Out Some New World Rhythms - The New York... https://www.nytimes.com/2018/03/05/arts/dance/review-rags-strid...

DANCE

Review: Tapping Out Some New World
Rhythms

By BRIAN SEIBERT MARCH 5, 2018
“Rags, Strides & Habaneras,” a Jazz at Lincoln Center concert, might have
seemed miscellaneous. What do ragtime and stride piano, two early forms of jazz,
have to do with the Cuban rhythm also known as the tango? And the lineup of
performers only increased the sense of incongruity: four virtuoso pianists from
different parts of the world, joined by three dancers — one tap, one salsa, one
flamenco.

ARTICLES REMAINING

1 of 3 4/20/18, 8:52 AM

Review: Tapping Out Some New World Rhythms - The New York... https://www.nytimes.com/2018/03/05/arts/dance/review-rags-strid...

No wonder one of those pianists, the 90-year-old master Dick Hyman,
confessed to being bewildered at the start of the early show on Friday. By the
early show on Saturday, though, he was able to announce that he and his fellow
artists had figured out what the title meant: What had been an enjoyable mess on
Friday had by Saturday cohered into something more.

The programming was far from random. The habanera is a hybrid seed of
great potency. An adaptation of the European contradanza by slaves from West
Africa, it is not only an early version of a New World rhythm that took over the
globe, but also a direct ancestor for much of jazz and rock ‘n’ roll. Ragtime and
stride are part of the same African-diaspora tree, though on a different branch.
And these dance rhythms call for dancers.

metronomic bounce, in swing, as if between two trampolines. But the show wasn’t
nearly selective enough for the history to be clear.

The format was a relay, with two pianos onstage. After one pianist played a
few songs, another came on for a duet before embarking on his own set. Mr.
Hyman, along with his high-finesse renditions of Scott Joplin ragtime and Fats
Waller stride, dutifully inserted a tango bass line into “All the Things You Are.”
Sullivan Fortner, from New Orleans, and Chano Domínguez, from Spain, both
played habaneras beautifully. But why did Joey Alexander, the adorable and
astonishingly skilled 15-year-old pianist from Indonesia, play original
compositions with almost none of the three title elements?

Among the dancers, who joined in periodically, the outlier wasn’t the Spanish
flamenco dancer, Jesús Carmona (in town for the Flamenco Festival at City
Center), so much as the New York salsero, Eddie Torres Jr. In his ruffled shirts
and sequined spangles, the friendly Mr. Torres, snapping his fingers and
shimmying, simply didn’t have enough vocabulary

Whereas the tap dancers — Michela Marino Lerman on Friday, Jared Grimes on
Saturday — proved fully equal to the pianist pyrotechnics. Ms. Lerman, deeply
musical, was the most adaptive artist onstage amid Friday’s getting-to-know-you
awkwardness. Mr. Grimes is the greater showman. In his muscle T-shirt, he
started with an imitation of Gregory Hines but advanced into maneuvers that
Hines couldn’t have dreamed of. He’s a flamboyant inventor, with giddily extreme
steps all his own.

2 of 3 4/20/18, 8:52 AM

Review: Tapping Out Some New World Rhythms - The New York... https://www.nytimes.com/2018/03/05/arts/dance/review-rags-strid...

On the same program with these top-notch hoofers, Mr. Carmona gave an
inadvertent lesson in differences between tap and flamenco. He’s a peacock, too,
with impressive footwork, armwork as ornate as Arabic script, fishtail turns and a
cat-who-ate-the-canary smile. But where the tap dancers’ every step was music,
either rhythm or a rest, in flamenco the center of musical expression regularly
alternates between the feet and the upper body, the percussion concentrated in
climaxes like the rapid strumming of flamenco guitar. In the context of this
concert, some of Mr. Carmona’s multiple turns could seem like boilerplate, but he
adapted to jazz syncopations with winning playfulness.

was more thrilling than to watch Mr. Carmona and Mr. Grimes trade phrases at
the end, one-upping each other’s spins and on-the-toes tricks. Similarly, it made
for a knockout and affecting finale when all four pianists played together, two to a
piano. The eight decades and thousands of miles separating Mr. Hyman and Mr.
Alexander shrank to a few inches as they sat side by side. As Mr. Hyman
indicated, the musicians and the dancers had found much in common.

Rags, Strides & Habaneras
Performed Friday and Saturday at the Appel Room, Jazz at Lincoln Center, jazz.org.

A version of this review appears in print on March 6, 2018, on Page C5 of the New York edition with
the headline: Reveling in Rhythms of the African Diaspora.

© 2018 The New York Times Company

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BWW Review:Learn More Celebrating Flamenco's
Present and Future at the 2018 NEW YORK
FLAMENCO FESTIVAL

Caryn Cooper Mar. 13, 2018   Tweet Share

Each year, the New York City Center along with
other venues across New York City, have presented
some of Spain's finest dancers and musicians to
perform on major concert stages... Now in its 18th
year, the 2018 New York Flamenco Festival has
brought some of flamenco's biggest names to the
New York area, for a celebration of flamenco's
present and future- spanning the full spectrum of
what is flamenco.

On the evening of March 9th, 2018, I had the opportunity to see Compañía Eva
Yerbabuena at the New York City Center, under the artistic direction of internationally
acclaimed Eva Yerbabuena.

Yerbabuena and her company celebrate their 20th anniversary with a new piece
entitled Carne Y Hueso, which translates to "Flesh and Bone". Known for her technical
dominance of the dance form, Yerbabuena offers a stripped down and honest revelation
of the vulnerabilities that lie at the heart while showcasing the most powerful virtues of
flamenco in a new evening-length work.

Accompanied by live music, the dance features eight distinct movements that
highlights the true spirit of flamenco. Of course there are some staples of flamenco
dance that can be seen such as stomps, claps, spins, and long arms. The piece also
shows the marriage of the singing, music and dancing that makes up flamenco. There is
also a level of dark and mysteriousness that can be seen on the stage that draws from
the art form's roots in the gypsy culture.<

What a spectacular performance! I loved the intricate footwork and the intensity of the
movements. The precision in the choreography is just remarkable. The male dancers in
the group are very talented. But I would be remiss if I did not talk about Yerbabuena's
unforgettable performance. She brought about a different kind of energy that pushes
the boundaries of flamenco in ways I have never seen! It was quite impressive to see her
as she draws in the audience with her amazing talent and technique that goes far
beyond what others before her have been able to do. Cheers, whistles, and shouts of
"olé" could be heard throughout the audience, especially as the show came to a close
with a standing ovation!

The 2018 New York Flamenco Festival continues now through March 24th with a range
of dance and music performances on stages across the city such as Lincoln Center,
Carnegie Hall, Joe's Pub, and The Town Hall. For more information or to purchase tickets,
please visit www.flamencofestival.org.

Photo Credit: Daniel Perez

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D A N C E REVIEW

A Tasting Menu of Spanish Dance

Flamenco Festival 2018 kicked off with Ballet Nacional de España performing a 12-part
sampler of music and dance from southern Spain.

Ballet Nacional de España in ‘Suite Sevilla’ PHOTO: JOSEP
AZNAR

B y R o b e r t Greskovic
March 6, 2018 5!42 p.m. ET

In a preshow talk last Saturday about Ballet Nacional de España, whose three-
performance run kicked o! Flamenco Festival 2018 at City Center, the troupe’s artistic
director, Antonio Najarro, stressed that his aim was to remind audiences that Spanish
dance is not only flamenco, the gypsy form of song and dance long known for its
intense and often dark tones.

For the festival’s opener, Mr. Najarro chose “Suite Sevilla,” a 12-part sampler of music
and dance from southern Spain that he arranged as his first work for Ballet Nacional de
España in 2011, when he became director. According to Mr. Najarro’s talk and his
company’s promotional copy, the dance forms joining flamenco in “Suite Sevilla” are
folkloric, or regional dances; stylized Spanish dance, indicating contemporary dance
influences; and escuela bolera, a traditional form mixing elements of classical ballet
with those of Spanish dance, including the use of castanets.

A row of 18 castanet-playing men and women, seen crouched behind the slightly
raised house curtain, opened the intermission-free, 90-minute suite like an
animated frieze of articulated hands and clattering wood. Once in full view—on a
stage arrayed with
seven musicians and two singers, and featuring a hanging central disc acting as a
screen for projections—Mr. Najarro’s suite selections came one after another, as
mostly group numbers of di!erent kinds.
The suite’s score is credited to Rafael Riqueni. Rafael Rivera, Diego Losada,
Paco de Lucia, Enrique Bermúdez and Jesús Torres. With its mix of violin, cello
and flute

of

A Tasting Menu of Spanish Dance - WSJ https://www.wsj.com/articles/a-tasting-m

alongside the more traditional guitar and percussion associated with flamenco, “Suite
Sevilla” at times invokes a Spain mated with Broadway or nightclub theater.

“Calle del infierno” (none of the individual Spanish titles from the “Suite” came with
English equivalents) was the program’s escuela bolera number. It featured Débora
Martínez in a soft-slippered gambol that variously mated her castanet playing and
shawl manipulation with pointed footwork and crossed-feet aerial moves familiar from
classical ballet.

“La alfalfa,” which refers to a popular Spanish Holy Week celebration, played out as a
somber procession for black-clad flagellants and penitents making their way with
percussive steps in hard shoes. With 10 men at times striking cruciform postures and
10 women sometimes delicately fluttering fans, the separate groups made reference to
rituals depicting the passion of Christ; the hanging disc gets illuminated at moments
by soft silhouettes of Christ on his cross. ( Felipe Ramos is the lighting and production
designer.)

“Esperanza” grew from “La alfalfa” as its men lifted and held aloft a serene Inmaculada
Salomón as if she were a statue of the Virgin Mary. At times this segment seemed to
channel Martha Graham’s ritualistic “Primitive Mysteries” (1931), with its “hymn to
the Virgin” themes.

Of the duet selections, one, “El encierro”—with choreography by Manuel Liñán for
Eduardo Martínez and José Manuel Benítez as chaps-wearing sidekicks—fascinated
with its rapid-fire footwork and use of a tapping cane, all worked around seven wooden
chairs that were eventually shunted offstage like so many sheep. “Maestranza,” a
matador and torero pairing in which a female dancer in a catsuit played the bull, was
more hokey than engaging; “Paseo de ensueño,” with its meeting and meshing moves
between a swain and his ladylove, was more surface sultry than convincingly
impassioned.

Esther Jurado’s “Soleá del mantón,” titled to indicate a conversation between a dancer
and her shawl, with choreography by Blanca Del Rey and music by Mr. Torres, stood
apart as a concentrated flamenco number. Wrapped in a large fringed shawl that at
times suggested a grass skirt, Ms. Jurado held the stage as a smoldering solo dancer.
Her emphatic footwork, arched torso and curling hands responded readily to the sung,
strummed, clapped and vocalized accompaniment provided by the musicians to keep
her dancing immediate and vivid.

With the full company in a rush of crossover moves, chaining lines and animated
clusters, all costumed in fiesta hues of scarlet and teal and gold, “Júbilo” caps “Suite
Sevilla” with what I took to be a medley of folk-styled Spanish dancing.

Flamenco Festival 2018 continues through March 24 at seven venues, and
performances by Compañia Eva Yerbabuena and Ballet Flamenco Jesús Carmona, this
weekend’s final offerings at City Center, promise to offer concentrated and extended
displays of flamenco, with titles like “Carne y Hueso” (“Flesh and Bone”) for Ms.
Yerbabuena’s show on Friday and Saturday and “Ímpetus” (”Bursting With Energy”)
for Mr. Carmona’s on Sunday. The breezy overview of Spanish dance with which Ballet
Nacional de España launched this year’s festival presented flamenco more lightly than
in depth; the inflamed effects inherent to flamenco have yet to fully make themselves
felt.

—Mr. Greskovic reviews dance for the Journal.

Una fiesta flamenca en la ciudad | El Diario NY https://eldiariony.com/2018/03/01/una-fiesta-flamenca-en-la-ciudad/
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Una fiesta flamenca en la ciudad | El Diario NY https://eldiariony.com/2018/03/01/una-fiesta-flamenca-en-la-ciudad/

 

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Dos icónicas familias musicales se reunirán en The Town Hall en lo que augura será una noche
inolvidable de dinastías. Los guitarristas, Pepe Habichuela y su hijo José Miguel Carmona se
encontrarán con Arturo O’Farrill, pianista, compositor y director de orquesta; y su hijo, el
trompetista Adam O’Farrill.

“Estas dos prestigiosas familias, Habichuela y O’Farrill, componen el espectáculo Legendary
Musical Dynasties. Un show que sabemos que el público disfrutará mucho”, concluye Marín
sobre el festival que incluye otras presentaciones, clases y laboratorios artísticos.

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Flamenco y Jazz afro cubano junto a dos dinastías | El Diario NY https://eldiariony.com/2018/03/22/flamenco-y-jazz-afro-cubano-ju...

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2 of 12 4/18/18, 10:11 AM

Flamenco dance icon Eva Yerbabuena brings acclaimed “Ay!” to R... http://artsatl.com/flamenco-dance-icon-eva-yerbabuena-brings-acc...

ARTSATL (HTTP://ARTSATL.COM)

TO THE RIALTO THEATRE 1!2-3 '(##)*++!"#$!#%,-./+-!#34."5+1!2-3+0

Flamenco dance icon Eva Yerbabuena

brings acclaimed “Ay!” to the

Rialto Theatre

Vanessa Alamo - Feb 21, 2018 in Dance

" ! + # ' Share via Email (mailto:type email address here?subject=I
wanted to share this post with you from ArtsATL&body=Flamenco dance icon Eva Yerbabuena
brings acclaimed “Ay!” to the Rialto Theatre http://artsatl.com/flamenco-dance-icon-eva-
yerbabuena-brings-acclaimed-ay-rialto-theatre/)

2 of 4 (http://artsatl.com/flamenco-dance-icon-eva-yerbabuena-brings-acclaimed-ay-rialto-
theatre/)

Eva Yerbabuena is one of the world's foremost flamenco dancers. (Photo by Daniel Pérez)

Since her initial flamenco class at the age of 11, Eva Yerbabuena has become a trailblazer
for flamenco artists worldwide, often pushing boundaries between the traditional and the
contemporary. Her speed, power and dramatic footwork can take the audience by storm.
This, combined with her willingness to expose her innermost emotions through
movement, creates a style that is nearly impossible to imitate.

4/20/18, 5:29 PM

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