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Published by info, 2020-02-27 03:22:00

londres2018programademano

londres2018programademano

Welcome

Photo: Cameron Slater

Welcome to Sadler’s Wells and to the The Gala Flamenca celebrates flamenco puro
Flamenco Festival London, our survey of the in an homage to legendary dancer La Chana,
best flamenco dance and music created and who makes a rare appearance. Her life is also
performed today. the subject of a movie screened as part of the
festival. In the Lilian Baylis Studio, we welcome
To mark the 15th anniversary of the festival dancer Ana Morales and director Guillermo
this year, we have called on a number of Weickert; musicians Antonia Jiménez, Alicia
artists who, in different ways, have mined the Morales and Nasrine Rahmani; vocalist Angelita
roots of the art form and either given a novel Montoya; and dancer Alba Molina and producer
interpretation of it or challenged its canons, Rycardo Moreno.
bringing new perspectives to light.
Flamenco’s dual character, at once traditional
We open with the striking voices of Arcángel and endlessly innovating, accounts in no small
and Marina Heredia and Carmen Linares taking part for the worldwide popularity acquired by
us on a journey from flamenco’s gypsy roots the art form in recent times. Our annual festival
to its contemporary incarnations. María Pagés is an invitation to bask in its heritage, vibrancy
reappropriates the narrative of Mérimée’s and latest explorations. I hope you enjoy it.
Carmen, retelling the story from the woman’s
point of view. Leonor Leal and Úrsula and I would like to thank our local business member
Tamara López explode clichés about the Moro for their support of the festival.
typical Spanish woman. Isabel Bayón, the
leading representative of the classical Sevillian Alistair Spalding CBE
school, embraces a different way of moving, Artistic Director and Chief Executive
directed by pioneering choreographer and
dancer Israel Galván. Virtuoso performer Jesús
Carmona returns to the festival with a powerful
interpretation of famous scores by beloved
Spanish composers, while Rafaela Carrasco
brings the voices and experiences of Spanish
and Latin American female authors from the
16th and 17th century to life through dance.

Front cover photo: Javier Suárez

Flamenco
Festival
London
2018

For its 15th anniversary, the
Flamenco Festival London
searches beyond the classic
image of the flamenco
dancer, rediscovering
forgotten spirits and
reclaiming women’s stories
as they seek to discover
the characters of the
women themselves.

Photo: Javier Suárez

Carmen Linares, Arcángel Beyond Flamenco in the
& Marina Heredia Lilian Baylis Studio
Tempo of Light
Wed 14 at 7.30pm Ana Morales with Guillermo Weickert
and Guests
María Pagés Compañía Sharing of Songs for the Silence
Yo Carmen Fri 23 Feb at 6pm
Thu 15 - Sat 17 at 7.30pm
Sat at 3.30pm Guitarrísimo: Antonia Jiménez
with Alicia Morales & Nasrine Rahmani
Úrsula López, Tamara López Entre Primas
and Leonor Leal Fri 23 Feb at 8pm
Painter and Flamenco: J.R.T.
Sun 18 at 7.30pm Flamenco Festival Film Screening
La Chana
Isabel Bayón Compañía Sat 24 Feb at 1pm
Dju-Dju
Tue 20 at 7.30pm Angelita Montoya
Versos Olvidados
Gala Flamenca La Chana Sat 24 Feb at 5.30pm
Goddess of Compás
Wed 21 - Fri 23 at 7.30pm Alba Molina & Rycardo Moreno
In Concert
Ballet Flamenco Jesús Carmona Sat 24 Feb at 8pm
Ímpetus
Sat 24 at 3.30pm and 7.30pm

Rafaela Carrasco
Born a Shadow
Sun 25 at 7.30pm

Staff

Director Miguel Marín
Technical Production Belén Castres
Production Beatriz Hoyos, Isabel Aranda, Laura Maza
Press Surnames Narradores Transmedia
Produced by Flamenco Festival, S.L. and
Flamenco Festival Worldwide AIE

Sponsored by

Supported by

Think flamenco, think women… observed that men in flamenco are from Jerez travelled away from her
well, perhaps. For behind every allowed to live their own lives, but that home – the only “acceptable” place for
image of the fan and the dress, women can only exist in relation to one women flamenco singers – to perform in
the clapping hands and the of two places: the bed or the kitchen. Seville and then even Madrid in flamenco
stamping heels conjured by the word tablaos (or venues), running contrary to
flamenco, there is also a complicated But women are integral to flamenco, and socio-cultural expectations of a woman
history of limitation through social have been since its inception. Certainly, of her background. Moving forward in
convention and restricted opportunity. it was initially the music of those on the time, the extraordinary Sevillian gypsy
But times are changing and this year’s fringes of Spanish society, notably the Pastora Pavón Cruz, known as “La Niña
Flamenco Festival, the 15th at Sadler’s gypsies of southern Spain. Even if the de los Peines,” is considered the most
Wells, explores today’s world of women art form has broadened and expanded important woman flamenco singer
in the art form with artists ranging from away from those cultural beginnings of the 20th century, becoming
the pure tradition of the great dancer or now to include many non-gypsies or a national figure and making
bailaora La Chana to the fabled singer or payos, the sense of otherness inherent recordings as early as 1908,
cantaora Carmen Linares. Dancer María in flamenco remains to this day. Why living until 1969 and still a point
Pagés brings innovation and a fresh, then, should such a genre not recognise of reference for all female
very much 21st century look at the women and their essential role within it? flamenco artists. Certainly, the
story of Carmen, while the trio of Leonor slow shift in flamenco from a
Leal, Úrsula and Tamara López explore Certainly, there were a few women genre restricted to the family
the portrayals of Spanish women by who, even in the 19th and early 20th and a tight community to one
symbolist painter Julio Romero de centuries, established themselves as of performance for outsiders
Torres. The festival covers the widest flamenco artists in their own right. Born in designated tablaos, cafés
of subjects, from Rafaela Carrasco’s in 1840, Mercé “la Serneta,” a gypsy cantantes and other venues,
company in an interpretation through
flamenco of the lives of Spanish Golden
Age women artists to Isabel Bayón’s
ensemble’s avant-garde delving into the
superstitions of the art form.

But women’s place in flamenco has
been a long time in changing. From the
outset in the mid-19th century when
the songs, music and dances of the
Spanish gypsies started to take form
as an identifiable genre and expanded
from the privacy of home and family to
take in a wider audience, flamenco has
cast women in certain, clear roles. In
the coplas flamencas or songs of that
era, women are cast as mothers, wives,
sisters or whores, the lyrics often making
them the cause of men’s misery through
betrayal or indifference, the outlook
resolutely “machista.” It has often been

Mother

Gerald Dowler

Tongue

Photo: Facundo Pechervsky

helped the emancipation of female and malagueñas rather than the harsher
artists. A third name to note is that of forms of the tonás and seguiriyas which
Dolores Jiménez Alcántara, known as were reserved for male voices.
“La Niña de la Puebla” who died in 1988
– along with La Niña de los Peines, she Certainly, today’s women flamenco
stood out as a supreme exponent of artists are at the forefront of both
flamenco singing throughout the male- singing and dancing, but, still, while in
dominated post-war General Franco era. flamenco women clap, it remains
rare to see and hear a female
The death of El Caudillo in 1975 and guitarist or percussionist or
the establishment of a new Spanish to note the name of a female
democracy led to greater freedom company manager. There
for the whole country and women in remain some barriers yet to
particular, whose role had been dictated be broken down, flamenco
by the strictures of Catholic observance is a genre which, according
and the observance of traditional to Sadler’s Wells favourite,
social mores. As elsewhere in western dancer Olga Pericet, changes
cultures, women began to venture out with the times. She has
of the home and leave behind their roles described women as the
of wives, mothers and housekeepers. spearhead for change in
With political and social change came the art form and predicts
a shift in the world of flamenco and the a blurring of gender roles
emergence of more women into new within it; if some men
areas of artistic activity. Today, even if are already wearing the
female artists have placed themselves totemic bata de cola, or
at the heart of the flamenco world, long trained dress, and the
there remain areas where they are shawl, then women can
perhaps less present than others. While also continue to move into
women are very visible at the more what have been up until
experimental edges of the art form, now, male preserves.
they are much less so in flamenco puro,
the traditional heart of the genre. The This year’s Sadler’s Wells
split largely follows the divide between Flamenco festival line-up is
gypsy and non-gypsy exponents; the evidence of the developments
payas, or non-gypsy women are at the in the world of flamenco,
vanguard of change – Carmen Linares, changes which have meant
who appear in this year’s festival is a that women have increasingly
leading voice for experimentation and found their artistic voice and
development – while the gitanas, gypsy have made it heard. In so doing,
women, still perform largely within they reclaim their past, seize
their own cultural milieu, characterised the present and lay the
by tradition and respect for the past. foundations for the future.
However, even this last male preserve
in flamenco is beginning to change, with Gerald Dowler reviews
a few gitanas taking to professional and and writes extensively on
commercial stages and being seen and dance for the Financial
heard by wider audiences. Times, Dancing Times
and classicalsource.com.
And the picture is different in the He also teaches at the
distinct areas of flamenco: singing, City of London School
dancing, guitar-playing and percussion
each have their own conventions.
Surprisingly, given our idolisation today
of female singers, flamenco originally
presented women according to a
stereotype defined by sensuality and
physicality, so it was as dancers that
they first became part of the genre.
Initially, therefore, only men could sing
and play an instrument, a convention
strengthened by the fact that it was the
guitarist who traditionally directed the
shows, and negotiated the fees and
contracts. As the genre developed,
women began also to sing, but not all
flamenco forms – they would sing the
more melodious and melancholic soleas

Photo: David Ruano

Carmen Linares, Programme
Arcángel &
Marina Heredia Bulería “Tempo de Luz”
Fandangos
Tempo of Light El Canto de la Resignación
Tangos
Photo: Javier Fergo Trilla
Soy como el ave marina
Granaina “La Alcazaba”
Vals en las Ramas
Farruca
Se Equivocó la Paloma
Solea de mis Pesares
Soleá
Sevillanas
Alegrías
Bulería “La Filarmónica”

Duration 100 mins (no interval)

Tempo of Light is an all-star show featuring versatile singer Arcángel, a tenor with all the dark
some of the leading voices in Spain today, in a tension that characterises the best flamenco
virtuosic display taking us from the Gypsy roots singers, transcends flamenco borders with a rich
of flamenco through to modern innovations. imagination, yet still holding onto the roots.
Carmen Linares, the legendary grand female
voice of flamenco cante jondo (deep song), Under the musical direction of Isidro Muñoz,
has been celebrated all over the world for the composer and producer of flamenco legends
extraordinary expressive power of her voice; like Camarón or Enrique Morente, this special
Marina Heredia’s “mercurial, impassioned voice, evening includes the outstanding dancer Ana
moves between clarity and rasp, sorrow and rage, Morales, former principal dancer of Ballet
tragedy and exultation” (New York Times), while Flamenco de Andalucia.

Cast & Photo: Javier Fergo
Creative Team

Musical Director
Isidro Muñoz
Vocals Carmen Linares,
Arcángel, Marina Heredia
Guitars Miguel Ángel
Cortés and José
Quevedo “Bolita”
Dancer Ana Morales
Percussion
Paquito González
Sound Eduardo Ruiz
and Juan Luis Vela
Lights David Pérez
Tour Manager
Lourdes García
Executive Production
El Mandaito

Commissioned and
produced by

With the collaboration of

Photo: Ricky D’villaCarmen Linares Marina Heredia Arcángel
Photo: Bernardo Doral
Carmen Linares is one of The daughter and Born in Huelva in 1977,
the living legends in granddaughter of Arcángel is one of the
flamenco singing, a master exceptional flamenco leading lights of a new
of the “jondo” style of singers, Marina was raised generation of vocalists.
singing. She was the first surrounded by flamenco, His wide range of
flamenco singer to perform with the debuting as a singer in 1992 when interpretative skills includes not only
New York Philharmonic Orchestra. she was 12. contemporary composers and old music
She was born in Linares (Jaén), in Marina has collaborated with ensembles but also projects celebrating
Andalusia, and begun to sing at an renowned flamenco artists, including the traditional art of flamenco.
early age under the guidance of her Arcángel and Eva Yerbabuena, as well He made his debut at an early age,
father. In 1968 she won first prize at as on projects such as Mauricio Sotelo’s winning the first prize in La Peña La
the Competition of Flamenco Art in opera De amore. She has performed at Orden at Huelva’s children’s talent
Cabra. She has toured the world with top Teatro de la Maestranza in Seville, contest for fandangos in 1987, and
flamenco performers such as Camaron Teatro Albéniz in Madrid, Gran Teatro was later discovered during the 1998
de la Isla, Enrique Morente, Paco Romero de Córdoba, Palau de la Música in El Monte season and the tenth Seville
and Carmen Mora, and appeared in Valencia, Strasbourg Music Hall and Biennial, where he received glowing
Carlos Saura’s film Flamenco. Crystal Palace in Porto and appeared at public and critical acclaim. After that,
She has performed with conductors Grec of Barcelona, Bienal de Flamenco Arcángel continued to sing for figures
Josep Pons, Rafael Fruhbeck and Leo of Seville, Madrid Autumn Festival, like Mario Maya, Juan Carlos Romero,
Brouwer, among others, and toured the Jerez and Ronda festivals, Munich Pepa Montes, Ricardo Miño, Manolo
Europe, the United States, South Biennale and Espárrago Rock. Franco, Niño de Pura, Javier Barón, Eva
America, Japan and Australia to great Marina received the Andalusian Youth Yerbabuena, Pepe Gamboa, Segundo
success. She was invited by the New of the Arts Award for her contributions Falcón, the Chekkara Orchestra of
York Philharmonic to join the tribute to to flamenco in Spain and abroad and Tetouan and Israel Galván.
Manuel de Falla at Lincoln Center, and the Flamenco National Review’s award A year later his opera prima, Arcángel,
to the Brooklyn Academy of Music, the for Best Album of the Cante Flamenco. was released, winning the Young
Sydney Opera House and the Teatro She has released four solo albums: Me Andalusia Award, Úbeda’s National
Colón of Buenos Aires. Her recordings duele, me duele (2001); La voz del agua Active Flamenco Award and Seville’s
include Un Ramito de Locura, Cantaora, (2007); Marina (2010) and A mi tempo Biennial Giraldillo award. He was named
La Luna en el Rio and Popular Ancient (2013), winning best recording in 2010 Huelva’s Person of the Year in 2004.
Songs. Her albums have been and 2013 from the Nation Flamenco Between 2003 and 2006 he performed
acclaimed by critics and have received Critics association and she has just at the Nîmes Festival, and Flamenco
numerous awards, such as the Silver been awarded with the Giraldillo prize. Festival in both New York and London.
Medal of Junta de Andalucía and Spain’s She debuted the live show A mi tempo Further works followed: La Calle
National Music Award. at Teatro de la Maestranza in Seville as Perdía (2004), Ropavieja (2007), Zambra
part of the XVII Bienal de Flamenco. 5.1 (2008), Quijote de los sueños (2011),
or Tablao (2015).

Photo: David Ruano

María
Pagés
Compañía

Yo Carmen

Yo, Carmen is not a portrayal of
Carmen as we know her, nor is it
yet another version of Mérimée’s
much-adapted novella. In this
production María Pagés delves
into the female psyche. She
manifests the voice of a woman
who rises up strongly before
us, to express the realities that
confront women.

Yo Carmen relates the emotional
history of women without
the connotations that have
been attributed by men to the
character of Carmen.

The voluptuous character that
Bizet clothed in his glorious music
serves as a starting-point for
a performance dismantles the
stereotype that has been instilled
in us for years. That stereotype
has silenced the essence of real
women: those women that you
and I know, who work, who leave
the office in a rush to pick up their
children; those women whose
innate strength can be felled by
fear; believing for a moment that
it will bring eternal youth; those
women who have made history
but whom history has ignored.

El Arbi El Harti, Playwright

Programme Cast & Creative Team Dramaturgy and Texts

Poemas y Cante Obertura Dancers María Pagés, Eva Varela, El Arbi El Harti
Musica Georges Bizet Virginia Muñoz, Julia Gimeno, Marta Music George Bizet, Sebastián Yradier,
Gálvez, Nuria Martínez, Sara Pérez,
La Palabra María Vega Rubén Levaniegos, Sergio Menem,
Text María Zambrano, Widdad Vocals Ana Ramón, Sara Corea
Benmoussa, Akiko Yosano, Guitar Rubén Levaniegos, David Moñiz, María Pagés
Marguerite Yourcenar, José Carrillo “Fyty” Lyrics María Zambrano, Widdad
Margaret Atwood, María Pagés Percussion Chema Uriarte
Cello Sergio Menem Benmoussa, Akiko Yosano, Marguerite
Maternidad Violin David Moñiz
Music Arreglo musical Direction, Choreography, Costume Yourcenar, Margaret Atwood, Belén
Sergio Menem Design María Pagés
Reyes, El Arbi El Harti, María Pagés
Enseñanza Lighting Design Pau Fullana
Music Georges Bizet, María Pagés
María Pagés in Seville, confirm her position as
Alegrías De Las Amas De Casa one of the most important flamenco
Letter Belén Reyes María Pagés has proven dancers and choreographers.
Music Georges Bizet, to be a pioneer in the
Rubén Levaniegos comprehension of flamenco In 1990 she formed María Pagés
as an art-form in evolution, Compañía with a repertoire of 20 pieces:
Miedo both contemporary and Autorretrato (2008) Dunas (2009) Utopia
Letter El Arbi El Harti alive. Her choreographies have overcome (2011), Yo Carmen (2014), Óyeme con
Music Sergio Menem, David Moñiz, cultural differences, convinced, as she los ojos (2014), An ode to time (2017).
María Pagés is, that the dialogue between different
artistic languages can only favour a “It is known that the genius of Dance
Amor better comprehension of the organic lives in María Pagés, we all know this
Letter María Pagés, El Arbi El Harti truths that are to be found in art and life. and we proclaim it. But there is more
Music Rubén Levaniegos, Isaac Muñoz In 2002 she was awarded the to this woman; she dances and by
National Prize for Dance (Creation) doing that, she moves everything that
La Marcha De Lo Cotidiano and the Community of Madrid Prize surrounds her. Neither the sky nor
Letter Belén Reyes for Culture in 2007. In 2014 she was the earth rest unchanged after
Music Rubén Levaniegos, awarded the Gold Medal for Merit in María Pagés has danced.”
María Pagés Fine Arts. Her eight Giraldillo Prizes, José Saramago (1998 winner of
awarded by the Flamenco Art Biennial the Nobel Prize in Literature)
Mito Roto
Music Sebastián Yradier, Photo: David Ruano
Georges Bizet

Esencia
Letter Belén Reyes, El Arbi El Harti
Music Rubén Levaniegos

Duration 80 mins (no interval)

Úrsula López, Programme
Tamara López
and Leonor Leal Cante de Pedro el
Morato, la Malagueña
Painter and de la Trini y los
Flamenco: J.R.T. Cantes de Juan Breva
Suite Semana Santa
La Soleá de Córdoba,
Pregón de los Piconeros
y Chuflas Piconas
Suite Pasodobles Taurinos
Las Alegrías de Córdoba,
Romeras y La Rosa
Suite Orquesta de Coplas

Duration 90 mins (no interval)

In their discussions about Julio Romero de Torres, himself: a painter yes, but his way of working, his
Úrsula López, Tamara López and Leonor Leal found poetic understanding of the culture of flamenco is
themselves focussing how to best approach the artist’s as important as that of his contemporaries Antonio
work. The task was to understand it, interpret it, and Chacón or La Argentina.
find a way to transmit his poetry without resorting
to clichés. Nevertheless, behind all the clichés and However, he is not only a flamenco artist when he paints
common stereotypes there is often a fundamental La Niña de los Peines or Pastora Imperio or creates
truth, something that somehow proves that language works like Alegorías de la Copla or del Cante Jondo.
can be used to invent a form of reality. The idea Our interest lies in understanding how flamenco also
therefore was to set out on a journey, map out the plays a role in works such as La Lectora, Nuestra Señora
terrain and understand the environment. de Andalucía or Retablo del Amor. This is the essence
of our approach: understanding how Romero de Torres
Julio Romero de Torres is not simply a painter was always a flamenco artist rather than reproducing
associated with flamenco, or an artist who merely his paintings or recreating typical scenes of Andalusia.
painted portraits and daily scenes of the flamenco
world. Romero de Torres is a flamenco artist in Pedro G. Romero

Cast & Úrsula López National Ballet of Japan, and has taught
Creative Team numerous Spanish dance and flamenco
Born in Montilla (Córdoba), courses in various cities around the
Dancers Úrsula López, Úrsula began her academic world including London, Chicago,
Tamara López, Leonor Leal training at a very young age, Bangkok, Moscow, Malta and Athens.
Flamenco Guitar graduating in both Spanish She has shared the stage with illustrious
Alfredo Lagos and classical dance. She musicians such as Manolo Sanlucar,
Singers Gema Caballero – moved to Seville to continue training in Vicente Amigo Juan Manuel Cañizares,
Elena Morales flamenco with great masters such as Juan Gómez “Chicuelo”, José Antonio
Guitar Antonio Duro Manolete and Manolo Marín. She started Rodríguez, Chano Domínguez, Paco
Proyecto Lorca her professional career in the opera Jarana, as well as directors Josep Pons
Saxophone Juan M. Jiménez Carmen under the direction of Carlos and Jesús López Cobos.
Percussion Antonio Moreno Saura. In 1996 she joined the Compañía
Choreography Úrsula López, Andaluza de Danza, and for the next Leonor Leal
Tamara López, Leonor Leal, eight years she performed as a soloist
Mónica Valenciano, with the company, touring the most Born in Jerez de la
María Muñoz important festivals and theatres around Frontera, Leonor trained in
Malagueña music Alfredo the world. She has worked in shows for classical and Spanish
Lagos, Leo Brouwer, Lecuona, Javier Latorre, José Antonio Ruiz, Eva dance before moving into
Frank Martin, Granados Yerbabuena, Joaquín Grilo, Andrés Marín, the world of flamenco.
Soleá music Alfredo Lagos, Dorantes, Javier Ruibal. In 2007 she She was soon performing with leading
Antonio Duro, Leo Brouwer, premiered Abriendo Camino with her own Andalusian companies such as
Albéniz company at Festival de Flamenco de Antonio “El Pipa,” Andrés Marín, Javier
Alegrías music Alfredo Lagos, Jerez. In 2012 she premiered a new Barón and Cristina Hoyos. She has
Antonio Duro, Manuel de Falla, production La otra piel at the Flamenco participated in projects with artists such
R.Sainz de la Maza, Biennial of Seville. She combines her as: Joaquín Grilo, Antonio Canales,
Joaquin Malats performances with teaching, teaching Rafael Campallo, Alejandro Granados,
Suites music “Semana Santa” courses all over the world and in her the pianist Mie Matsumura, Dorantes,
and “Pasodobles Taurinos” own academy in Seville, flamencodanza Rosa Torres Pardo, Camerata Flamenco
Proyecto Lorca (Juan M. studio, to continue passing on the Proyect, Jose Antonio Ruiz and baroque
Jiménez/Antonio Moreno) legacy of the great masters. guitarist Rafael Bonavita. She was
and Pedro G. Romero awarded Outstanding Artist by the
Suite music “Orquesta de Tamara López choreographic contest of Madrid. She
Coplas” Proyecto Lorca premiered her first solo show, Leoleolé
(Juan M. Jiménez/Antonio Tamara was born in in 2008 at the Festival de Jerez. In 2011
Moreno), Pedro G. Romero, Montilla, Córdoba in 1978. she premiered eLe eLe, and was
Alfredo Lagos, Antonio Duro, At the age of six she began awarded Revelation Artist of the Jerez
R. Sainz de la Maza, E. Lucena her dance studies in Festival. In the Bienal de Sevilla 2012,
Director Pedro G. Romero classical, contemporary she premiered La mujer Habitada under
Set Antonio Marín ballet, Spanish dance and flamenco, the direction of Víctor Zambrana, with
Sound Manu Meñaca before joining the Royal Academy of whom she continued the creative
Lighting Design Ada Bonadei Dance. In 1998, she finished her studies process until its premiere at the
(Vancram) and Manu Madueño in Spanish and classical dance in the Festival de Jerez in 2013 with Naranja
Regiduría Lourdes García conservatories of Seville and Malaga. Amarga. In 2016 she presented Frágil at
Video Félix Vázquez The following year she moved to Seville Dusseldorf Festival, directed by Maura
Costume Design to expand her studies with maestro Morales. She combines her artistic
López de Santos Manuel Marín. In 2000, under the career with the teaching required
Production management direction of Aída Gómez, she began a annually in schools and international
El Mandaito Producciones S.L. 12-year tour with the National Ballet of festivals of flamenco. In parallel, she is
Flamenco López S.L. & Cía. Spain, during which time she performed taking a master’s in scenic practice and
Leonor Leal Production in numerous works, finishing as a soloist visual culture of the Reina Sofía Museum
This show has been possible in the show La Otra Piel. In 2014, in Madrid.
thanks to the collaboration together with Úrsula López, she founded
of Agencia Andaluza de the flamencodanza studio in Seville. As
Instituciones, Culturales - a teacher, she has been a guest of the
Consejería de Cultura, Museo
Nacional Centro de Arte Reina
Sofía, Museu Nacional d’Art
de Cataluña, Museo Julio
Romero de Torres de Córdoba,
Córdoba Film Office
Special thanks to Charo
Martín, Teatro Central
technical staff, Almudena
Díez (MNCARS), Charo Canal
(MNAC), Luis Alabern (MNAC),
Paco Gallo (FILMOFFICE
Córdoba) and Mercedes
Valverde (MJRTC)

Photo: Alejandro Espadero

Isabel
Bayón
Compañía

Dju-Dju

Duration
90 mins
(no interval)

Ever since Gypsies first appeared in European culture, Troubling feelings, magic, superstition, jinxes, fixations,
the unearthly has followed. Fortune telling, for words that mustn’t be said, amulets, magical rituals and
example, has been one of their most immediate everyday rituals; those things which you cannot touch
economic resources. So, as of that moment, magic with your hands.
and Gypsy were born together.
So we are actually trying to find out why we tighten our
Before dju-dju, or voodoo, that were direct descendants stomachs when we have a bad feeling, why we swear
of the colonial exploitation in Central Africa and the impetuously when faced with a challenge, why we fill
Caribbean – before these practices embodied fear of our pockets filled with little coins and stones as if our
the unknown, Gypsies epitomised that curse. Needless luck depended on them. Everything we do daily without
to say, Gypsies took those fears to flamenco. thinking about it and we stop in fear when facing it.
The electricity that runs through our body when we are
The magical has left us a sterile vision of what is still an startled. Bad thoughts. Hexes. Bad luck, mal fario. La
established element in the process of making flamenco. bají. El mal Bajío. Fear. Apprehension. Disgust. El dju-dju.
And this is where Isabel Bayón and Israel Galván
immerse themselves, plunging into that swampy world. Pedro G. Romero

Cast & Creative Team Photo: Alejandro Espadero Isabel Bayón Israel Galván

Artistic Director Israel Galván Born in Seville, Isabel Israel Galván de los Reyes
Concept Isabel Bayón, Bayón first took dance was awarded the National
Israel Galván lessons at the Matilde Dance Prize, Creation
Staging and choreography Coral School at the age section, by the Culture
Israel Galván of five, before studying Department of the Spanish
“Aparato” Pedro G. Romero at the Dance Conservatories in Government in 2005. In 2012 he won the
Dancers Isabel Bayón, Alicia Seville and Cordoba. New York Bessie Performance Award for
Márquez, Nieves Casablanca During her career she has performed an Outstanding Production and the Fine
Guitar Jesús Torres at numerous national and international Arts Medal awarded by the Council of
Singer David Lagos festivals and worked with many Ministers of Spanish Government.
Clavichord and Keyboard important figures from the world of Son of Sevillian bailaores Jose
Alejandro Rojas-Marcos flamenco, including Antonio Mairena, Galván and Eugenia de Los Reyes, he
Dance Repetiteur and Chano Lobato, Mario Maya, El Pele, grew up surrounded by the atmosphere
Choreographic Assistant Israel Galván and Miguel Poveda. of tablaos, fiestas and flamenco dance
Marco de Ana Since forming her own company in academies. In 1994, he joined the
2001 she has created shows including Compañía Andaluza de Danza.
Production Credits Del Alma, La Mujer y El Pelele, La Puerta In 1998 Israel premiered ¡Mira! / Los
Abierta (Giraldillo Prize for Best Show), Zapatos Rojos, his first creation. Praised
Rehearsal Director and Adviser Tórtola Valencia (Giraldillo Prize for by all the critics as a stroke of genius, it
Balbina Parra “magical moment”), En la Horma de was effectively a revolution in the entire
Stage Manager Pablo Pujol sus Zapatos (Giraldillo Prize for Dance) concept of flamenco shows.
Sound Designer Pedro León and Caprichos del Tiempo (Critics’ Since then he has presented
Sound Technician Manu Meñaca Prize at the Jerez Festival 2013). productions such as La Metamorfosis,
Lighting Designer She is much in demand as a Galvánicas, Arena, La Edad De Oro,
Rubén Camacho choreographer for the Spanish Tábula Rasa, Solo, El Final De Este
Lighting Technician National Ballet and the Andalusian Estado De Cosas – Redux, Israel vs Los
Antonio Valiente Dance Company. 3000, La Curva and Lo Real/Le Réel/
Stage Technician Pedro Romero Her awards include the Special The Real, for which he received three
Distinction of her professional career Premios Max de Teatro awards. He has
Production and by the Provincial Delegation of Seville also created La Francesa and Pastora
management (2011), National Dance Award (2013), for his sister Pastora Galván.
Clavel Press Award by the Press Galván is an associate artist of
Lourdes García Association of Seville (2014) and Fuera Théâtre de la Ville Paris and Mercat de
(El Mandaito Producciones) de Serie Award 2014 by Expansion les Flors Barcelona.
Cisco Casado Magazine, El Mundo.
(A Negro Producciones) She currently combines her artistic
activities with her role as a teacher
at the María de Ávila Higher Dance
Conservatory in Madrid.

Photo: Alejandro Espadero

Gala Programme
Flamenca
La Chana Presentation (Jaleos extremeños)
The company
Goddess of Compás
Cante “alante” (Alegrías)
Antonio Campos, David El Galli, Alfredo Tejada

Saga de los Moneo (Bambera)
Gema Moneo

Sabiduría (Soleá)
Antonio Canales

A dos voces
Juan Campallo and Paco Iglesias

La Chana, Goddess of Compás
(Soleá por bulería)
La Chana

Farrucos (Seguiriya)
El Farru

Fiesta por tangos
The company

Duration 80 mins (no interval)

World Premiere 4 June 2017,
Flamenco Madrid Festival

Nobody should have resigned themselves to the idea the poignant truth from her “dancing armchair,” which
that the muse of genius, the frightened little fairy, she bewitches and converts into a magical sanctuary
had fled to the darkest corner of La Chana’s soul. Nor where, for our enjoyment, the muse and the goblin
that she, while on the verge of becoming one of the have returned after such a lengthy exile.
Olympian myths of Hollywood, faded into the silence
of oblivion. Nobody should have allowed profane With the intention of returning the gift that La Chana
hands to destroy the fiery receptacle which sheltered bestowed upon them with her art, and surrounded by
the “duende” representing the deepest root of art. But a team who hold her in an admiration bordering on
it came to pass; brutality and senselessness forced religious, the biggest performers collaborate in this
the “el duende” to retreat, quiet and downcast inside exceptional spectacle, celebrating her return to scene
La Chana, who was always a source of purity, a bitter from the depths of their hearts.
ill-fated vessel, a high priestess to the altar of the beat.
“We give thanks to God and the Universe for her
But time has uncovered the truth and placed La Chana courage, for her faith, for her rise from her own ashes.
back in the forefront of our attention. Four decades We give thanks to life for another chance to enjoy
later, without a single word and perched at the risk of La Chana, the Goddess of the beat”
the improvisation that characterises her, we are told Núria León de Santiago

Cast & Creative Team La Chana danced on a stage. Since then he has
performed around the world achieving
Principal Artist La Chana She was a Gypsy girl in great success.
Guest Artists Antonio Canales, Barcelona. She practiced
El Farru, Gema Moneo every single day, secretly El Farru stands out as a singular and
Guitarists Paco Iglesias, and alone, behind a wall powerful bailaor. Elegance and beauty
Juan Campallo close to the cemetery complemented with virtuous technique,
Singers Antonio Campos, wearing slippers. Only on rare occasions prodigious zapateado and the personal
David El Galli, Alfredo Tejada was she able to grab her cousins’ shoes. touch of Los Farruco.
Artistic Director Ángel Rojas Her uncle Chano saw her talent and
Associate Artistic Director encouraged her to dance. This is how the Gema Moneo
Núria León de Santiago story of this incredible bailaora begins.
Original Concept Ángel Rojas, Autodidact, her performances have Gema Moneo was born in
François Soumah always been improvised and breath- Jerez de la Frontera into a
taking. La Chana only needs the speed famous flamenco family
Production Credits of her feet and the purity and strength of clan: Los Moneo. She
her movements, coming from the bottom started her dance studies
Production Manager of her soul. Her sense of the beat and when she was just four years old. At the
François Soumah the manners of her dance changed the age of 13, she started performing at the
Music Popular method of dancing flamenco forever. tablaos flamencos in Jerez.
Technical Coordinator and The combination of her traditional roots,
Stage Manager Marc Bartolo Antonio Canales her sensibility and her particular sense of
Lighting and Stage Designer beat make Gema one of the most talented
Luis Perdiguero Born into a family of artists young flamenco dancers of the moment.
Sound and Projections in Seville, Antonio Canales
Designer Víctor Tomé started his dance studies Ángel Rojas
Lighting Technician young, rising to become
Luis Perdiguero principal dancer at the Ángel Rojas was born in
Sound Technician Víctor Tomé Ballet Nacional de España. After leaving Madrid. After finishing his
Photography and Graphic Design the Ballet, Antonio started his career as dance studies at the age of
Irene Bel, Beatrix Mexi Molnar a guest dancer and choreographer with 16, he started his dancing
Executive Production many international dance companies. career with Antonio
soumahproject Antonio has danced in the greatest Canales. Years later, he founded a dance
General Manager theatres around the world in Torero, company with Carlos Rodríguez and
François Soumah Bernarda and Bailaor. travelled around the world with great
Production Assistant and Antonio maintains a perfect balance success. He has directed and
Road Manager María Bustos between tradition and modernity. choreographed for many flamenco
His charisma, strength and duende artists such as La Lupi and Antonio
touch audiences and remain in their Canales. He is also director of the
hearts forever. Flamenco Madrid Festival.
Ángel stands out not only as a great
El Farru dancer but as a choreographer and a
brilliant artistic director. His deep knowledge
El Farru was born in Seville of dancing and his creativity lead him to
into a legendary dynasty of continue searching new languages to
flamenco dancers: Los show the magnificence of flamenco.
Farruco. He was just two
years old when he first

Photo: Beatrix Mexi Molnar Programme

Taranta “Alacazar
de Cristal”
by Rafael Riqueni

Tangos
by Oscar Lago
(Adaptation by Rafael Riqueni)

Anak
by Dani Jurado

Ímpetu
by Mario Escudero
(Adapted by Oscar Lago)

Buleria
(Lyrics by Manuel de Molina)

Mariana
by Óscar Lago
(popular lyrics)

Seguirilla
by Dani Jurado
(popular lyrics)

Caña
by Óscar Lago and
Dani Jurado
(popular lyrics)

Duration 75 mins (no interval)

World Premiere
1 December 2015,
Teatro Nuevo Apolo, Madrid

Ballet Flamenco
Jesús Carmona

Ímpetus

Jesús Carmona, from his early days performing with in some way influenced his life and his character, both
other companies, through his first steps with his own professionally and personally. His strength and energy
company, right on to artistic maturity, has always can be defined in a single word: Ímpetus!
sought to showcase Spanish culture in his work. This
time he experiments by presenting a fresh artistic Works from the great composers have been adapted
interpretation of our Spain’s great musical scores. to create a new, innovative programme which, by
maintaining the underlying musical scores, ensures an
In this spectacular he reflects on all the works that emotionally-charged evening.
have enabled him to grow as an artist and which have

Cast & Creative Team

Director Jesús Carmona
Artistic Interpretation
Jesús Carmona, Ana Agraz,
Águeda García, Marta Gálvez,
Angel Reyes, Cristian García
Vocalist Juan José Amador
Guitar Daniel Jurado,
Oscar Lago
Violin Thomas Potirón
Percussion Francisco Vega
Choreography Jesús Carmona
Music Daniel Jurado,
Oscar Lago
Costume Design
Belen De La Quintana
Footwear Begoña Cervera
Lighting Design David Pérez
Sound Artist Juan Luís Vela

Production Credits

Sound Technician
Juan Luís Vela
Lighting Technician David Pérez
Operator Belén Castres
Executive Production
and Distribution ART &
DANZA, Carmen Cantero
Production Jesús Carmona
& Cía.

Photo: Marcos G Punto

Jesús Carmona la Vida (BNE, José Antonio and Rafael tribute show Carmen Amaya La Capitana
Campallo) and Ritmos (Alberto Lorca). at the National Theatre of Catalonia
Jesús Carmona, born in alongside Rocío Molina, Mayte Martín and
Barcelona in 1985, began Notable performances during this Ramón Oller.
his career at seven years time include his pas de deux with Lola
old in La Macarena and Greco and his Soleá in the José Greco He was principal dancer alongside
el Niño de Morón, spectacular. He was a soloist with the Antonio Canales, Karime Amaya and
graduating in Spanish dance and Carmen Cortes Company, alongside Carlos Rodríguez at the Gala Flamenca,
flamenco from the Instituto del Teatro Isaac de Los Reyes, Carmen Cortes Flamenco Festival where he was
y Danza in the Catalan capital in 2004. and Guadiana. In the Antonio Canales acclaimed as the rising star of 2014 by
He furthered his studies with various Company, La Sangre de Edipo, he was the audience and international critics. He
courses under maestros such as Antonio a soloist alongside Adela Campallo and directed, choreographed and performed
Canales, Rafaela Carrasco, Manolete, Lola Greco. He appeared as a guest artist Cuerpo Mente y Alma alongside Karime
Eva Yerbabuena and Aida Gómez. with Olga Pericet, dancing Soleá. Amaya and Paloma Fantova which
He was awarded the Premio Desplante premiered at Suma Flamenca 2014.
at the Festival de las Minas, La Unión In 2006 he presented his spectacular El
2012 and Best Outstanding Dancer at Silencio de La Luna, and he was chosen He also choreographed and performed,
the XX Certamen de Danza Española to join the BNE (Spanish National Ballet) alongside Lola Greco, Sergio Bernal,
y Flamenco, Madrid 2011. He was as principal dancer with the company. Karime Amaya and Ana Arroyo, the
nominated for Best Stage Dancer, 2012 Flamenco 5 Estrellas Gala, which
(Seville). In 2013, he came second at the During 2010 and 2011 he took part in premiered at Suma Flamenca 2015. His
National Flamenco Festival, Córdoba and India, Holland, France and Italy, and was interpretation of Alma de Lorca in the
in 2014 was nominated for best principal guest artist with the Rojas y Rodríguez spectacular Federico Garcia, created and
dancer at the MAX Awards. tour throughout Asia and with the BNE directed by Pet Tosar, premiered at the
His professional debut came at the in Corazón de Piedra Verde. He was also Festival Grec, Barcelona. That year he
Zorrilla Theatre with the Liceu Theatre guest artist at the Cía. de Pastora Galván. also took part in the Platea programme
Orchestra, Barcelona at just 14. His in various Spanish theatres, performed
professional career soon began and After three years he left the BNE at New York City Center’s Fall for Dance
he joined several companies, including to embark on a new adventure. Cuna Festival to outstanding public and critical
Nuevo Ballet Español, Carmen Cortes, Negra Y Blanca received outstanding acclaim, and at the Brezier Flamenco
El Güito, Manolete, Antonio Canales and critical and public acclaim in the Bienal Festival, France.
Rafael Amargo. Over the years he has de Sevilla 2012, Danza, Madrid 2012,
starred in shows such as Alborada del Jerez Festival, 2013 and Flamenco Arts
Gracioso (Maestro Granero), Golpes de Festival, Santa Barbara, USA.

He premiered 7 Balcones to great
critical and public acclaim (receiving
three nominations at the MAX Awards,
Artes Escénicas 2015) and closed the

Rafaela Programme
Carrasco
Loved Shadows Teresa’s Daydream
Born a Shadow (Seguiriya) (Cantiñas)
Dancers The full company Dancer Rafaela Carrasco
Flamenco dances to the lines of the classic Music Jesús Torres Music Jesús Torres
Spanish female authors of the 16th and Choreography Choreography
17th centuries: Teresa de Jesús, María de Rafaela Carrasco Rafaela Carrasco
Zayas, María Calderón and Sor Juana Inés
de la Cruz. Teresa in the cell In Palace (Waltz)
(Taranto) Dancers The full company
In four imaginary letters, the voices of these Dancer Rafaela Carrasco Music Pablo Suárez
four great artists reveal their secret bonds: Music Jesús Torres Choreography
loneliness as the price to pay for courage, Choreography Rafaela Carrasco
the labyrinth of love and the painful quest Rafaela Carrasco Guajira Carmen Angulo
for freedom. Four women seeking to dance, Music Jesús Torres
think, feel and live. On the way (Bulería) Choreography
Dancer Toda la compañía Carmen Angulo
The choreographic talent of Rafaela Music Pablo Suárez
Carrasco, one of the great creators of Choreography The Prayer (Voices)
contemporary flamenco, meets the Rafaela Carrasco Dancers The full company
dramaturgy of Álvaro Tato, one of the Romance Florencia O’Ryan Music Pablo Suárez
emerging writers of the Spanish scene. Music Jesús Torres Choreography David Coria
And the words of classic Spanish literature Choreography
are heard in a new light with the voice of Florencia O’Ryan Nacida sombra
Blanca Portillo. (Born a shadow) (Soleá)
Corral de comedias Dancers Rafaela Carrasco –
Photo: Beatrix Molnar (Percussion) The full company
Dancers The full company Music Jesús Torres
Music Antonio Campos Choreography
Choreography Rafaela Carrasco
Rafaela Carrasco
Fandangos Paula Comitre Duration 90 mins (no interval)
Music Jesús Torres
Choreography Paula Comitre

Cast & Creative Team

Direction and Choreography
Rafaela Carrasco
Original Concept and
Dramaturgy Álvaro Tato

Voice Over (letters)
Blanca Portillo

Dancers Rafaela Carrasco,
Florencia O’Ryan, Carmen
Angulo, Paula Comitre

Musicians
Guitar Jesús Torres, Juan
Antonio Suárez “Cano”
Singers (Cantaores) Antonio
Campos, Miguel Ortega

Musical Composition
Antonio Campos,
Jesús Torres, Pablo Suárez
Set Design Carolina González
Wardrobe Design
Belén de la Quintana
Lighting Design
Gloria Montesinos (A.a.i)
Sound Design Ángel Olalla
Machinery Rusti
Executive Production
Alejandro Salade
A Rafaela Carrasco production

Rafaela Carrasco Antonio Campos Pablo Suárez

Director of the Flamenco Antonio Campos was born in Tarragona Pablo Suárez began his musical studies
Ballet of Andalucía from 2013 in 1972, moving a few months later to in Barcelona with the teacher, Rosario
until the present day, as a Atarfe, Granada. Listening to flamenco Vilanova. After which he continued in the
choreographer and dancer, from the cradle, he was passionate about musicians’ workshop in Barcelona, and in
Rafaela Carrasco, has been flamenco guitar before he could even walk. 1995 moved to Madrid, where he moved
a leading figure of the flamenco world He began as a guitarist in Granada, playing professionally in the flamenco world, as a
since 2002. in dance academies and accompanying performer, composer and musical director
Carrasco studied under two great singers for almost a decade. in major companies and with flamenco
masters: Matilde Coral, with whom she figures, including: Compañía Adrián Galia
learned discipline, technique and a He started singing by chance. In Graná (Pensando Flamenco), Eva Yerbabuena y
passion for dance, and Mario Maya, who baila por Tangos he did a version of some Rafael Amargo (La Garra Y El Angel), Nuevas
offered her first professional opportunity: tangos that he had listened to in the Generaciones, a creation for Cristina
first, in the company of Mario Maya and Macanda. Hearing it, the dancer granaína Hoyos, Yoko Komatsubara (Viva Flamenco),
later, in the Andalusian Dance Company. Angustias la Mona offered him the chance Rafael Blanco (Colores – bienal flamenca,
Rafaela left Seville for Madrid in 1996 to work as a singer in el tablao La Reina 2000), Cristóbal Reyes (Pura Pasion),
and since then she has worked with: Mora del Sacromonte. After a year and NBE (Furia and Romeo y Julieta), Rafaela
Belén Maya, Israel Galván, Javier Barón, a half in the tablaos of Sacromonte, he Carrasco (Con La Musica Del Cuerpo, Una
Adrián Galia, Rafael Amargo, Ricardo started to work in theatres around Mirada Del Flamenco, Del Amor Y Otras
Franco, Teresa Nieto, Ramón Oller, Antonio Madrid with the singer, Tony Maya. Cosas), Antonio Márquez (Boda Flamenca),
Canales, Farruquito, Duquende, Chicuelo Compañia Kaari Martin de Finlandia, Currillo
o Merche Esmeralda. He works with some of the greatest de Bormujos, Maribel Gallardo, Diego
She is also an outstanding teacher in figures of dance, such as: Mario Maya, Franco (Bormujeando), Carlota Santana (El
important schools, including the Amor Antonio Canales, Rafaela Carrasco, Burlador – Theater Joyce of Manhattan,
de Dios en Madrid, el Centro Flamenco Merche Esmeralda, Javier Barón, 2005), Francisco Suárez (Plaza Alta, Orestes
de Estudios Escénicos de Granada and Manuela Carrasco, Isabel Bayón, Ana En Lisboa – bienal 2002), (Romancero
el Festival de Jerez, and as a professor of Cali, Mercedes Ruiz, Rocío Molina, Javier Gitano – Teatro-Madrid, Bienal Flamenco
methodology and didactics of flamenco in Latorre, Andrés Peña, Manuel Liñán, La 2004 gira nacional), (Itaca - estreno en el
the Conservatorio Superior de Danza de Moneta, Belén Maya, Marcos Flores, Festival de Merida 2006), Andres Marin
Madrid “Maria of Ávila.” Alfonso Losa, Rafael de Carmen, Adela (Vanguardia Jonda – Bienal 2006), Carmen
She has won the Giraldillo a la Mejor Campallo, Manolo Marín, Joaquín Grilo, Linares (Oasis Abierto – 2010 and Ensayo
Coreografía y Premio de la Prensa, for her ShojiKojima and Rubén Olmo. Flamenco) and many more.
show Vamos al tiroteo. She also won the
Giraldillo “Premio Especial del Jurado” As a singer soloist, he has participated His recordings include: Burlador (2006),
for her work as an artistic director of the in projects such as Palo Flamenco, Entre Corrientes (2010), Avant-Garde
Gala Clausura La punta y la raíz. Camerata Flamenco Project and World- (2012), Impressions (2014).
Flamenco Septet.
Álvaro Tato Gloria Montesinos
Jesús Torres
Álvaro Tato is a writer, actor and the Gloria Montesinos was born in Madrid, a city
literary director of Ron Lala. The more Born in Baracaldo (Vizcaya) in 1965 where she studied art between 1987 and
recent shows of the company, in co- as the son of emigrants from Seville, 1990. In 1991 she received a scholarship
production with the national company Jesús Torres is a flamenco guitarist and from Paddington College in London,
of classic theatre are: Cervantina (2016) composer. Practically self-trained, he interning at English National Opera. Since
and En un lugar del Quijote (2014). started out with an instrument at only 1992, she has worked as a lighting designer.
11 years old, moving to Madrid in the
He is the author of El alcalde de Zalamea ‘80s to focus on guitar for dance. She has made dance lighting designs for:
(National Companys Classic Theater, dir. Joyce Theatre de New York, Théâtre National
Helena Pimenta, 2015; nominee MAX He teaches graduates specialising in Challiot de Paris, Compañía Nacional de
Award for best adaptation), Ojos de agua flamenco guitar at the Conservatorio Danza, Ballet Nacional de España, Ballet
(2014, with Charo López; dir. Yayo Cáceres) Superior de Música Rafael Orozco de Flamenco de Andalucia, Ballet Nacional de
and El intérprete (2013, with Asier Etxeandía). Córdoba. He is currently working as a Cuba, Ballet de la Ópera de Essen (Alemania),
guitarist companion and teacher in Compañía Introdans (Holanda), Ballet
He has published books of poetry, the CSDMA. Madlenianum Kamerna Ópera de Belgrado,
Zarazas (2015), Gira (International prize of Centro Coreográfico de la Comunidad
poetry Miguel Hernández 2011) and Cara He has worked with artists as big as Valenciana, Centro Andaluz de Danza, IT
mascara (Hiperion poetry prize 2007) Mario Maya, Antonio Gades, José Greco, Dansa, and las compañías de Rafaela
and has coordinated magazines and Rosa Durán, Mª Rosa, Merche Esmeralda, Carrasco, Teresa Nieto, Olga Pericet, Ramón
literary anthologies. Paco Romero, Tomás de Madrid, Sara Oller, Belén Maya and Mayte Martín, Chanta
Lezana, Paco Peña, Javier la Torre, La Mui, Manuel Liñán y Selene Muñoz,
He graduated in Hispanic philology from Belén Maya, Israel Galván, Andrés Marín, Ballet Flamenco David Morales, Nuevo
the Universidad Complutense de Madrid, Rocío Molina, Rafael Campallo, Rafaela Ballet Español y Compañía Pepa Molina.
took doctoral courses with the professor Carrasco and Isabel Bayón.
of Spanish literature, Javier Huerta Among her designs for opera and music
Calvo and studied three years of scene He has composed music for highlights are Dido y Eneas and Acteón de
management in the RESAD. productions, including for la Compañía Charpentier for la Orquesta Barroca and Les
Andaluza de Danza under the direction of Arts Florissants dirigidas for William Christie
He has taught courses and workshops Mario Maya, the current flamenco ballet / Vincent Boussard which premiered at
in drama, verse and poetry in el Master of Andalucía, under the direction of Brooklyn Academy of Music, New York.
en Creación Teatral (dir. Juan Mayorga) Rafaela Carrasco and the last production
of la Universidad Carlos III de Madrid, and of the BNE under the direction of She won the 2003 performing Arts Award
contemporary theatre at la Universidad Antonio Najarro. of the Valencian Community for Sangrepura
Complutense de Madrid, la Academia del (Compañía Metros-Ramón Oller) and in 2004
Verso de Alcalá de Henares, la Cátedra Performing as a soloist in Viento for Congelado en el tiempo (Choreographic
Leonard Cohen de la Universidad de del Norte, the album is a sample of his Center of the Valencian Community).
Oviedo y la Escuela Universitaria TAI. composition creation.

alvarotato.com

Ana Morales
with Guillermo
Weickert
and Guests

Sharing of Songs
for the Silence

Duration 30 mins (no interval)

“That there was a man marked by pain and his
pain provoked the silence and that his silence was
transformed in music, in art in flamenco”
Even when silence is part of your life, it can still
sometimes terrify us, not providing the calm it
promises. It frightens us because it creates anguish,
discomfort, loneliness, emptiness and because it
takes us out of the world, opening ourselves up to
memories and causing us to panic. That alarm leads
us to the abyss and when you see yourself in it, it
creates a feeling of vertigo that is difficult to control.
Ana Morales works with the sound sensation of
no-noise, silence in all its attributes, from the inner
emotions it conjures to how they are reflected
externally when they come into contact with people
and our environment. This is an internal work
that takes us to the sound, enabling us to get the
vertiginous sensation of both space and sound,
liberating us and controlling us, all at the same time.

Cast, Creative & Ana Morales Sabio Janiak
Production Team
Ana Morales was born in Sabio Janiak is a
Director Guillermo Weickert Barcelona in 1982 to a composer, producer,
Interpretation Ana Morales Sevillian father and a multi-instrumentalist,
Music Daniel Suarez mother from Melilla. At one-man band, educator
Distribution Daniela Lazary the age of 16 she moved and sound therapist based
Production Ana Morales to Seville and continued to train in in London. Sabio has associated himself
and Jorge Limosnita flamenco for three years with the with music and art since early childhood.
Andalusian Dance Company (CAD). In 2005 he obtained his master’s degree
Photo: Benjamin Mengelle She made her professional debut in in classical percussion and in 2008 he
the Teatro de La Maestranza within studied music production at London
the Seville Bienal 2000, Puntales, Centre of Contemporary Music. His 23
directed by Antonio El Pipa. years of experience as a composer and
In 2004 she took part in the tribute session multi-instrumentalist alongside
project to Dalí, directed by José Antonio world famous artists has allowed him to
Ruiz. In 2005 she collaborated as a develop the unique ability of being able
dancer in the films Iberia (Carlos Saura) to play more than 100 instruments,
and ¿Por qué se frontan las patitas? which informs his work as a musician,
(Álvaro Bejines). In 2007, she was soloist producer and composer. Previous
in Javier Barón’s Meridiana (Xerez collaborations include: Hofesh Shechter
Festival, Mont Marsan and theatres in Company, The Place, Roger Waters (Ça
Madrid and Seville). In 2009, she won Ira), Hagit Yakira Dance, The Royal Ballet
the Desplante award from the Minas School, Richard Alston Dance Company,
International Flamenco Vocals Festival New Adventures, Central Saint Martin’s
and she released her first show in Xerez College of Art and Design and Darren
Festival, De sandalia a tacón, followed Ellis Dance.
by her second show at the Seville
Flamenco Bienal ReciclArte in 2012. Ivan Bavcevic
She released Los pasos perdidos in
2015 as part of the Sevillian Torre de Ivan Bavcevic was born in
Don Fadrique. In 2016 she performed Split, Croatia in 1978, and
Oh vida (Arianne Arsht Centre, Miami) started traveling the world
along with Esperanza Fernández and at young age, taking him to
Gonzalo Rubalcaba. almost 40 countries with
She was a soloist in the Andalusian different cultures, beliefs and ways of life.
Flamenco Ballet until 2016. He graduated in management and
Currently, she is collaborating in De specialised in personal development at
lo jondo a lo verdadero, created by two American universities. As a student
Esperanza Fernández, and in Tiempo de he met his spiritual teacher in India, who
luz, with Carmen Linares, Arcángel and motivated him to combine management,
Marina Heredia. psychology, spirituality and energy
healing in his work. He is the founder of
Guillermo Weickert the School of Awareness and Spiritual
Mastery that operates in Croatia, Spain,
Born in Huelva, Spain in Slovenia and Serbia. His work with
1974, Guillermo Weickert people focuses on expression and
trained as an interpreter healing of blocked emotions through
(actor, dancer and body movement, breathing and energy
performer) since 1992 at flow, as well as on entering into the
the Theater Institute of Seville and the silence to experience the true self, and
Andalusian Dance Center with an on mastering the mind in order to use it
integrated vision that goes beyond the as an instrument to create a beautiful life.
labels and classifications of the Ivan is the author of the book The
performing arts. Knowledge is Within You, a regular guest
His professional career has brought on radio and television and is a guest
together companies and creators of lecturer and speaker at the Granada
dance and theatre for the past 20 years University. He has done several
including Alex Rigola, Karine Ponties, residency programs with flamenco
Rui Horta, Marc Rees, Ur Teatro, National artists, including with Belen Maya and
Theatre Wales, Rubato Tanzcompanie, Olga Pericet.
Teatro de La Abadía and many more.
His creative work as choreographer
and stage director is marked by his
predilection for creative processes,
the work of the performer and artistic
collaboration with productions such as
Lirio entre Espinas, Días Pasan Cosas
andGo With the Flow.

Guitarrísimo:
Antonia
Jiménez
with Alicia
Morales
& Nasrine
Rahmani

Entre Primas

Three women explore the depths of
flamenco through the guitar of Antonia
Jiménez, the percussion of Nasrine
Rahmani and the voice of Alicia Morales.

Entre Primas is the result of Antonia
Jiménez’s long career as a composer and
accompanist of flamenco’s elite dancers,
utilising the voice of Alicia Morales, the
jewel of that inexhaustible quarry that is
her native Granada while Nasrine Rahmani
forges the essential link between the two.

Taranta, romances, marianas and
granaina immerse us in a comfortable
world, open for the enjoyment of
unexpected melodic detours, nuances
of dynamics and dissonances, where
the richness and formal behaviour of the
compositions ensue their expressiveness
and intelligibility.

Programme

Intro
Taranta
Guajira
Tanguillo (Candié)
Seguiriya Cabal (El Cañuelo)
Soleá (Amares)
Granaina (Bosque de
la Alhambra)
Petenera (Materna)
Mariana (La Colorá)
Tangos (Gema de Oriente)
Alegrías (Agua Viva)
Romance (Dos Hermanas)

Duration 65 mins (no interval)

Cast & Creative Team

Original music Antonia Jiménez
Guitar Antonia Jiménez
Percussion Nasrine Rahmani
Vocals Alicia Morales

This concert is part of Instituto
Cervantes’ and ILAMS’ Guitarrísimo
series, co-produced by the
Flamenco Festival London

Antonia Jiménez Nasrine Rahmani Alicia Morales

Antonia Jiménez was born Nasrine Rahmani is an Alicia Morales is a
in El Puerto de Santa María, Australian-born “cantaora.” She started at
Cádiz, in 1972, and is percussionist now residing a young age in her native
considered the most in Madrid. Upon completing Granada and then studied
important Spanish female a bachelor’s of music with the renowned maestros
flamenco guitarist and composer. After improvisation at the Victorian College of Luís el Zambo, Segundo Falcón,
studying with some of the greatest the Arts in Melbourne, she travelled on Antonio el Colorao and Juan Mesas.
masters of flamenco guitar, Enrique numerous occasions to Cuba in order to After touring Andalusian festivals and
Vargas, Manolo Sanlúcar, Gerardo further her studies on the Congas. After clubs, accompanied by master guitarists
Núñez and Rafael Riqueni, she has coming into contact with local flamenco such as Paco Cortés, Miguel Ochando
accompanied singers such as Carmen musicians in Melbourne, she developed and Juan Habichuela Nieto, she visited
Linares, Montse Cortés and Juan Pinilla an interest in the cajon and eventually countless countries and important
and dancers such as Olga Pericet, decided to move to Spain. She has now festivals performing in recitals such as
Manuel Liñan, Rocío Molina and Marco been living and working for nine years in Malacate Flamenco, sharing the stage
Flores among many others, often also the Spanish capital, performing with with Pedro el Granaino, Rocío Marquez
composing the music. As a concert artist most of the top flamenco artists in the and Juan Habichuela. Now settled in
she has performed as part of important industry including Montse Cortes, Jorge Granada, she works with great artists
festivals including Festival de Jerez, Pardo and Juan Jose Suarez “Pakete” including Juan Andres Maya and Curro
Suma Flamenca de Madrid, Flamenco and both touring and recording with Albaicin. The creativity of this restless
viene del Sur en Sevilla, International Diego Guerrero as his main percussionist. artist has led her to compose the music
Guitar Festival in Sundsvall and Segal She is also one of the main endorsers for for her personal projects.
Theater in CUNY. leading flamenco cajon makers, La Rosa
Entre Primas is her second personal Percussion, and is currently recognised
project, following Dos Tocaoras in 2014. in Spain as the leading woman in
flamenco percussionists.

Angelita Montoya Programme

Versos Olvidados Cancionero de mi tierra
(Zambra)
Versos Olvidados (Forgotten Verses) is the 90th anniversary tribute La pescaora (Soleá)
to the women poets of the Generation of 1927 who have long been Mi galera de oro (Alegrías)
forgotten. The poetry of Cristina de Arteaga, Concha Méndez, Gloria Mi ambición… Cantar
de la Prada, María Teresa Roca de Togores, Casilda de Antón del Olmet, (Canción por bulerías)
Josefa Pardo de Figueroa, Ana María Martínez Sagi, Carolina Valencia Tu cuerpo moreno
and Zenobia Camprubí, now rescued by the passionate voice of Angelita (Canción errante)
Montoya, has been put to the music of Alejandro Cruz Benavides. Risas y Besos (Tangos)
No quiero mirar atrás
(Bulerías)
Versos Olvidados
(Fandangos)

Duration 50 mins (no interval)

Photo: Paco Lobato

Cast, Creative & Angelita MontoyaPhoto: GNP Producciones Alejandro Cruz Benavides
Production Team Photo: Paola Evelina
Daughter of dancer Juan Pianist, composer, producer,
Direction and Choreography Montoya and singer musical director and actor,
Rafaela Carrasco Antonia Rodriguez, “La Alejandro Cruz Benavides is
Original Concept and Negra” is from one of the a multi-faceted and versatile
Dramaturgy Álvaro Tato most remarkable Gypsy artist who combines musical
flamenco families, the Montoyas. She composition for cinema, television and
Voice Over (letters) debuted at only nine years old with the theatre productions with accompaniment
Blanca Portillo flamenco show Nuevo Día, directed by to important figures such as Raphael, José
Lole and Manuel. Mercé, Nacha Guevara, Falete, Mayte
Dancers Rafaela Carrasco, She has sung with important figures of Martín, Pasión Vega, India Martínez and
Florencia O´Ryan, flamenco including Fernanda de Utrera, Lole Montoya. He has been awarded
Carmen Angulo, Paula Comitre Chocolate, Chano Lobato or Camarón, several national prizes, including the
and dancers such as Manuela Carrasco, MAX Award for performing arts.
This concert is co-presented Joaquín Cortés in his Live show and
by Instituto Cervantes and with Pastora Galván in several shows. Fran Cortés
Flamenco Festival London Her career highlights include her work
in several flamenco festivals including Born in Triana in 1979,
Bienal de Sevilla, Bienal de Málaga, Fran Cortés is a musician,
Potaje Gitano de Utrera, La Caracolá composer, producer
de Lebrija, Festival de Cante Grande de and singer. Son of the
Puente Genil as well as her remarkable international flamenco
work in Tablao flamenco Cordobés singer Chiquetete and flamenco dancer
during her stay in Barcelona and El Amparo Cazalla, Fran was born into a
Arenal in Seville. family with an old artistic tradition.
Recently, she has recorded her debut He learnt to play guitar next to Rafael
album Versos Olvidados directed, Mendiola. Throughout his career, he has
composed and produced by Alejandro composed and played for artists with
Cruz Benavides. very different musical styles.

Photo: Jerónimo Alvarez

Alba Molina
& Rycardo
Moreno

In Concert

Duration 75 mins (no interval)

Alba Molina and Rycardo Moreno are close friends and
their humour and complicity are part of their delightful
journey through jazz and flamenco standards and beautiful
compositions in an intimate concert full of subtle emotions.

In 2017 they started their tour Alba Molina & Rycardo
Moreno, performing shows all over Spain, in Belgrade
(Serbia), Prague (Czech Republic) and New York (USA).

Cast, Creative & Production Team Photo: Nané S Moreno

Vocals Alba Molina
Spanish Guitar Rycardo Moreno
Booking and Production Judith Salcedo
engira.net

This concert is co-presented by Instituto
Cervantes, AIE and Flamenco Festival London

Alba Molina Tarantino included their song Tu Mirá in Rycardo Moreno
Kill Bill Volume 2).
Alba Molina was born into Rycardo Moreno, is
the lineage of flamenco Since a very young age Alba Molina has musical producer, arranger,
Molina (guitar-players) been performing flamenco, but also hip composer and guitarist.
and Montoya (singers hop, pop rock, boleros, ballads and Brazilian He has collaborated with
and dancers). Her parents music. She collaborated in Las Niñas many important flamenco
were the vanguard flamenco couple (flamenco-hip hop) selling over 80,000 artists. He has recorded two solo
Lole Montoya and Manuel Molina, copies in the early ‘90s and in Tucara albums, Varekai (2015 Nuba Records/
known as Lole y Manuel and are two of (Warner 2009) produced by Rycardo Karonte) and A Galeano (2017
the most popular flamenco artists of Moreno. Her last two albums have been autoproduced), an emotive tribute to
the ‘70s in Spain. (Internationally they homage to her parents Alba canta the writer Eduardo Galeano.
became popular after Quentin Lole y Manuel (Universal, 2016) and
Caminando con Manuel (Universal 2017).

Flamenco Easter course 2018 with
Joaquin Grilo and Beatrice Morales

30th March - 3rd April
in Dance Attic Fulham

Courses in Choreography, Bulerias, Bata de Cola,Technique,
Castanets and singing From beginners to professional levels

Joaquín Grilo is a powerful dancer who is considered
one of today’s leading male flamenco dancers.

His most notable collaboration was with the great PPPeeeñññaaa FFFlllaaammmeeennncccaaa dddeee LLLooonnndddrrreeesss
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selected him as Spain’s best flamenco dancer.
We also have regular classes in our flamenco

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Flamenco classes in Central London
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ilusionflamenca.co.uk

A sensational new tango show direct from Buenos Aires

GERMAN CORNEJO’S

28 Feb - 17 March 020 7863 8222 peacocktheatre.com Holborn

A SEDUCTIVE NEW MUSICAL

Georges Bizet’s

Inspired by CARMEN JONES
by Oscar Hammerstein II

1 - 18 AUGUST Sadler’s Wells Theatre
sadlerswells.com
020 7863 8000

Coming Soon

Photo: Chris Randle Photo: Chris Van Der Burght

Ballet British Columbia Fabrizio Cassol & Alain Platel
Emily Molnar / Crystal Pite / Sharon Eyal Requiem pour L.

Tuesday 6 & Wednesday 7 March Tuesday 20 & Wednesday 21 March
£12 - £27* £20*

Sadler’s Wells Sadler’s Wells

The cutting-edge Canadian dance company brings a triple bill of works by Regular collaborators Alain Platel and Fabrizio Cassol join forces once again
female choreographers. in a work inspired by Mozart’s unfinished Requiem. With 14 musicians from
all over the world, composer and musical director Cassol reconstructs the
Emily Molnar’s 16 + a room is inspired by the work of Jeanette Winterson and Requiem with diverse musical influences while trailblazing director Platel uses
Emily Dickinson. Olivier Award-winning, Sadler’s Wells Associate Artist and the imagery of Mozart’s music to construct a visual world for the musicians
former Ballet BC dancer, Crystal Pite explores acceptance and loss in Solo and dancers to inhabit.
Echo. And fellow Sadler’s Wells Associate Artist Sharon Eyal worked with
regular collaborators Gai Behar and Ori Lichtik to create Bill. “A staggering, thought-provoking show”
The Guardian on Coup Fatal

Photo: Roy Tan Photo: Hugo Glendinning

Richard Alston Dance Company Sidi Larbi Cherkaoui, Antony Gormley with
Mid Century Modern monks from the Shaolin Temple
Sutra

Friday 23 & Saturday 24 March Monday 26 - Wednesday 28 March
£12 - £38* £12 - £40*
Sadler’s Wells Sadler’s Wells

Richard Alston choreographed his first work in 1968. Now, 50 years later, This award-winning collaboration between choreographer Sadler’s Wells
he celebrates this landmark with Mid Century Modern, drawing on the span Associate Artist Sidi Larbi Cherkaoui, sculptor Antony Gormley and
of his work. 19 Buddhist monks returns to London for its tenth anniversary.

The triple bill also includes Alston’s Carnaval, with Schumann’s music played Sutra is a breath-taking spectacle exploring the Shaolin tradition’s philosophy
live by pianist Jason Ridgway, and Martin Lawrance’s brand new work Cut and and faith, and its relationship with kung fu, featuring live music composed
Run, featuring contrasting music by Damian Legassick and Michael Gordon. by Szymon Brzóska.

“Alston premiere shows promise” ★★★★★ “This unique, profoundly imagined show takes the concept of
Daily Telegraph, 1968 (Alston’s first review) cultural exchange to a whole new level” The Guardian

Save 20% and get priority booking with Sadler’s Wells membership
Join online now to receive your discounts: sadlerswells.com/membership

For full season listings: sadlerswells.com Ticket Office: 020 7863 8000

*Transaction fee applies: £3 for telephone bookings. £1.95 for online and concessionary bookings. No charge in person at ticket office.

A Brief History of Sadler’s Wells

Sarah Crompton’s book New beginnings sometimes happen quietly and and give the Vic-Wells Ballet a permanent base.
‘Sadler’s Wells Dance House’ sometimes they are announced. On Monday, The new season opened on 27th September
is available in the foyer and at 7th March 2005 the new director of Sadler’s 1935 to great acclaim with one critic noting
sadlerswells.com/shop/book Wells, Alistair Spalding, decided the time had “the splendid dancing of the young newcomer
come to make a splash. “You’ve got the National Miss Margot Fonteyn, who has a compelling
Theatre for drama, English National Opera for personality and exceptional gifts, though only
opera and I want Sadler’s Wells to perform the just 16.”
same function for contemporary dance.” With
those words, he inaugurated a new chapter Whilst opera continued to be important (Peter
in the history of London’s second oldest Grimes premiered at the Wells in 1945), it was
theatre: its transformation into a contemporary in this period that Sadler’s Wells became most
dance house. strongly associated with dance. It was where
De Valois founded British ballet here and built
Sadler’s Wells was not born of an artistic both a company of dancers and a repertory
impulse but the discovery of a mineral that included her own works and those of
spring in 1683. Richard Sadler built a music Frederick Ashton and Robert Helpmann.
house around the spring to rival the already She also founded a school which remained
fashionable Tunbridge and Epsom wells. By throughout World War II, when the theatre was
the beginning of the 18th century, visitors to itself acting as a refuge for the homeless.
Sadler’s Wells could see entertainments that
included jugglers, tumblers, ropedancers, At the end of the war, De Valois took her
ballad singers, wrestlers, fighters, dancing fledging ballet company to Covent Garden to
dogs and even a singing duck. become the Royal Ballet. However, her touring
ballet company, known first as the Sadler’s
In 1765 Thomas Rosoman had the theatre Wells Theatre Ballet, then the Sadler’s Wells
rebuilt for the first time so that it could mount Royal Ballet, remained until 1955 and returned
high-calibre opera productions. However, it from 1970 to 1990 before moving permanently
wasn’t long before the beer brewed from the to Birmingham to become the Birmingham
spring waters became the primary attraction. Royal Ballet.
By 1801, although a young actor called
Edmund Kean and the great clown, Grimaldi, By the 1970s Sadler’s Wells’ dance programme
had both appeared on its stage, Sadler’s had diversified considerably. Alongside
Wells had become more famous for incidents, Rambert Dance and London Contemporary
both devised (spectacular sea battles) and Dance, who briefly held residencies here, a
accidental (a terrible stampede in which 18 great variety of touring and commercial work
people died) than for work of merit. In the was also presented. However audiences began
1830s Dickens wrote: “The theatre was in the to drift away.
condition of being entirely delivered over to as
ruffianly an audience as London could shake When Ian Albery took over as chief executive in
together…Fights took place anywhere, at every 1994 it was clear that redefinition was needed.
period of the performance.” He led the campaign to transform Sadler’s
Wells into a purpose-built dance theatre. During
Matters improved in 1843 with the passing of the two-year rebuild, Sadler’s Wells decamped
a parliamentary act which enabled the actor- to Holborn’s Peacock Theatre which it has
manager, Samuel Phelps, to present a famous continued to programme ever since.
run of Shakespeare. But after he left in 1862,
the theatre once more sank into the doldrums, The rebuilt theatre opened in October 1998
suffering conversion into a skating rink and with a design that still incorporates the skeleton
then a cinema. In 1914 the Daily Chronicle’s of Frank Matcham’s 1931 theatre, which in turn
theatre critic, S.R. Littlewood, described it as contained bricks from the Victorian playhouse.
“a poor, wounded old playhouse” and in 1915, It has an expanded 15m² sprung stage,
it closed its doors. a welcoming 1,500 seat auditorium, and a
glass-fronted foyer that captures Lilian Baylis’
It took another decade for the most significant belief that theatre should embrace everyone.
figure in the modern history of Sadler’s Wells Here no-one enters the “gods” through
to enter the picture. Since 1898, Lilian Baylis a separate entrance. There are also three
had been presenting drama and opera at rehearsal studios and the smaller 200-seat
the Old Vic at popular prices. Motivated by a Lilian Baylis studio theatre for the development
profound belief that great art should belong and presentation of small-scale work.
to everybody, in 1925 she began fundraising
to rebuild Sadler’s Wells so that the people But even with the new facilities, it took some
of north London could enjoy the same time to establish the theatre as a force for
opportunities as those in the south. dance. After a thrilling opening season, which
included performances by Pina Bausch’s
Then Baylis met Ninette de Valois, a striking Tanztheater Wuppertal, William Forsythe’s
young Irish woman who deeply impressed ground-breaking Ballet Frankfurt, and Rambert
her. After their interview, Baylis’s secretary, Dance, it once again struggled to find its voice
recorded her saying: “Miss de Valois is going and its audience.
to run her school with the Vic and when we
have Sadler’s Wells she’ll run a wholetime Alistair Spalding took up the challenge to
ballet company for us.” The fact that it all turn things around in 2004. He decided that
came to pass says much about the abilities Sadler’s Wells had been at its best when it had
of both women. had resident companies and new works being
created within its walls. This vision paved the
De Valois was formally hired in 1928 and the way for an increasing number of Associate
fifth Sadler’s Wells, designed by the prolific Artists and for companies producing work
theatre architect Frank Matcham, opened on in the building. Today Sadler’s Wells not only
6th January 1931 with John Gielgud and Ralph promotes but also commissions and produces
Richardson in Twelfth Night. For four years, outstanding dance. It reflects the best of its
drama productions, opera and ballet shuttled history while looking defiantly and brightly
between the Old Vic and Sadler’s Wells until towards the future.
Baylis decided to dedicate Sadler’s Wells to
opera and ballet for eight months of the year Sarah Crompton

Sadler’s Wells Sadler’s Wells Donors and Supporters
Artists and Trust and Thank you to all those who generously support the
Companies Foundation theatre and our programme of work on and off stage

Associate Artists Sadler’s Wells Trust Individuals Season Patrons
BalletBoyz® Maria Adonyeva
Matthew Bourne Chairman Avant-Guardians Sir Trevor and Lady Chinn
Sidi Larbi Cherkaoui Nigel Higgins Anonymous Celeste Fenichel
Jonzi D David and Primrose Bell Stéphane Lapiquonne
Sharon Eyal Directors Angela Bernstein CBE Samantha Lee
Michael Hulls Humphrey Battcock Sue Butcher Craig Mullan
Michael Keegan-Dolan Sue Butcher Sanya Polescuk Majella Murphy-Altschuler
Akram Khan Sarah Evans Yukiko Pajot
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Kate Prince Farah Ramzan Golant Ann and Martin Smith Acosta Danza Circle
Nitin Sawhney David Ripert The Ulrich Family Anonymous
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Christopher Wheeldon The Blavatnik Family Foundation Jeannette Grohe
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Sadler’s Wells Honorary Members
Fellowship Valerie Colgan Commissioning Patrons
We thank former Robert Kahn Anonymous
board members Martin Klute Francois and Anais Aguerre
and those who have Geoff and Judith Batchelar
given significant and Honorary Clerk Justin Bickle
sustained support Joachim Fleury Kristina Borsy and Nick Turdean
Nica Burns OBE
Ian Albery Clerk to the Foundation Alexander de Mont
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Valerie Solti
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Georgia Oetker Rita Hughes Performance Members Corporate
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Paul and Christine Williams Alessandra Masoero Anonymous Agencies
Meng Zhou Patricia Masri The Andrew Lloyd Webber Embassy of Spain
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David and Melissa Bernstein Martha Mehta The Baring Foundation Italian Cultural Institute
Matthew and Elissa Bernstein Jane Miller BBC Children in Need Taipei Representative Office
Colin and Deirdre McKechnie Andrea Mitchell Cockayne - Grants for the Arts
Erdem Moralioglu Dame Hilda Bracket Trust in the UK
(Deputy President) Richard Morgan The Edwin Fox Foundation in
Celia Rodrigues (President) and Koji Moriya
Britannia Morton memory of Michele Fox
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Mina Gerowin Herrman and The Ironmongers’ Company
The John Thaw Foundation
Jeffrey Herrman The Leche Trust
Gina Hickey The Mercers’ Company
Gary Hocking and Sandra Quinn The Rayne Foundation
Mike and Caroline Howes The Royal Victoria Hall Foundation
Teale Charitable Trust
The Three Monkies Trust

If you would like to know more about supporting Sadler’s Wells,
please contact the Development Office on 020 7863 8134
or development@sadlerswells.com

Sadler’s Wells Staff

Artistic Director and Production Accountant Finance & IT Catering & Events Chris Harmer, Aimee Harrison,
Chief Executive Ricci Pleszkan Antony Hately, Anna Harrison,
Alistair Spalding Producing & Touring Coordinators Finance Director Head of Catering & Events Kylie Hawryliw, Sam Hind, Geber
Chief Operating Officer Georgia Kersh Mark Rhodes Zuzana Galikova Sandoval Heredia, Nadia Jaglom,
Britannia Morton Florent Trioux Mikael Hannequin (Maternity Cover) Kornelia Jaroc, Jasmine Kambi,
Executive Director Producing & Touring Intern Finance Development Head Chef Athina Kavaklioti, Grace Keeble,
Magdalen Fisher Phillipe Cato Financial Controller Kenny Warren Ewa Lamond, Lisa Laville, Ljiljana
Paul Warren Sous Chef Lemajic, Maddie Lewis, Vivien Loh,
Director of Artistic Programme Marketing & Sales Management Accountant Paul Walsh Esther Mark, Montana Marlow,
Katy Arnander Ben Dart Senior Chef De Parties Claire Marty, Katie Mason, Timesha
Finance Director Director of Marketing & Sales Production Accountant Aaron Hartmann Mathurin, Takeshi Matsumoto,
Mark Rhodes Sebastian Cater Ricci Pleszkan Paul Mileham James McAndrew, Iona McGuire,
Executive Producer Senior Marketing Manager Show Accountant Kitchen Assistants Madeleine Millar, Carole Mitchell,
Suzanne Walker Sammie Squire Lorne Cuthbert Ellie-Brook Dean, Luminita Sfesnic Rhiannon Montagu-Harrison,
Director of Technical Marketing Manager (Touring) Finance Officer Kitchen Porters Thomas Montagu-Harrison, Joel
& Production Lucy White Monisola Samuel David Cabrol O’Donoghue, Amelia O’Hara, Raisa
Emma Wilson Marketing Campaigns Officer Finance Assistant Andrew Ejayese Pankalainen, Wendy Parry, Hannah
Director of Marketing & Sales Martha Quigley Sheena Shah Catering Operations Manager Parsons, Paula Patritti, Raffaella
Sebastian Cater Marketing Insight Officer Hannah Titterton (Maternity Cover) Justin Rogers Petropoulou, Dominique Perrett,
Director of Learning Ian Briggs Catering Administrator Danielle Pollastri, Eloise Price,
& Engagement Publications Officer IT Janet Elliott Magdalena Radlowska, Georgia
Joce Giles Maxine Smiles Head of IT Duty Catering Managers Redgrave, Kelly Robinson, Rowan
Director of Development Content Officer Matt Kirby Alessio Colandrea, Jolanta Roberts, Kate Ryan, Chiara Sarra,
Phoebe Reith Rosie Mackie CRM Database Manager Petrauskaite, Michael Curtin Dorit Schwartz, Jamie Sheehan,
Executive Assistant Marketing Coordinator Dmitrij Zeile Catering Team Leaders Shorai Shoniwa-Forchin, Benjamin
Rosalind Glass Kirsty McGuinness IT Systems & Network Manager Marcus Romaneli, Maurice Rowan Todd-Jones, Caroline Topley, Lily
Marketing Assistant Raymond Neequaye Bishop, Sonia Teape Tran, Nu Tran, Calvert Watson,
Programming, Learning Dominique Perrett IT Support Analysts General Catering Assistants Emma Wells, Robert Wilkes,
& Engagement Stephen Amissah, Karolina Baublyte, Aliya Aris, Jairo Zaldua
Digital Jake Hummerston Natalie Beale, Deborah Boateng,
Director of Artistic Programme Digital Manager Rosaleen Brooks, Jamie Stage Door
Katy Arnander Mark Doerfel Human Resources Buchanan, Margarida Cardosa Receptionist
Digital Officer Macieira, Lottie Chivers, Sarah Joann Peek
Programming Sarah Vaughan-Jones Head of HR Covington, Sonya Crème, Paige Stage Door Keepers
Artistic Programmer & Digital & Marketing Apprentice Clair Kelly Dehaarte-Wiseman, Maria De Melo Marie-Claire Adriaenessens,
Artist Development Temi Fernandez HR Manager Sousa, Eva Escribano Olmo, Josh Faith Alibi, Hollie Ashton-Penketh,
Eva Martinez Lesley Owusu Gill, Deborah Gomes, Rosalind Sam Hopkins, Laura Kerin, Vivien
Head of Programme Ticket Office HR Coordinator James, Madeleine Jonsson, Egija Loh, Magdalena Radlowska,
Anneliese Graham Senior Ticketing Office Manager Braham Lyons Kavecka, James Kent, Laura Kerin, Rosannah Smith, Marcia Umbelino,
Ninon Jerome (Maternity Cover) James Broderick Administrative Apprentice, HR Jennifer Lake, Ciara Lynch, Niamh Michael Warburton
Projects Producer Deputy Ticket Office & Tiegan Hummerston Malin, Hannah Mason, Isobelle
Robyn Cabaret Systems Manager Mason, Maria Moragas-Auladell, Housekeeping
Programme Manager David Knight Capital Projects Claudia Marciano, Katie McGregor, Cleaning &
Richard Cross Ticket Office Supervisors Chesney Parchment-Otegbade, Housekeeping Manager
Programming Coordinator Barbara Birch, Mark Hammond, Projects Facilitator Eva Parets Merino, Alexandra Fabian Arias
Sarah Lacombe Abigail Parker Charlotte Meyer Plaige, Bethany Pratt, Sabela Housekeeping Operations
Programming Intern Memberships & Ticketing Ramos Candedo, Aine Reynolds, Supervisor
Elisa Mozzanica Services Administrator Technical & Building Services Raffaella Scotto Di Clemente, Katarzyna Rogulska
Ritchie Dach Scotto Di Clemente, Anita Sidoruk, Cleaning and
Breakin’ Convention Ticket Sales Assistants Director of Technical & Nestor Soto-Tordecilla, Waddah Housekeeping Supervisor
Artistic Director, Virginia Aparicio, Samuel Bailey, Production Sinada, Lizzie Treece, Kathryn Ken Debidin
Breakin’ Convention Naomi Bowen, Clare Bracewell, Emma Wilson Turner, Thomas Van-Hulle, Razvan- Cleaners
Jonzi D Stephanie Brotchie, Tim Chen- Ioan Vermesan, Marilyn Webster, Joshua Aqui, Marc Aster, Albina
Programme Manager, Hudson, Melissa Collier, Neil Collins, Sadler’s Wells Theatre Hallam Wood Boho, Jeffrey Balighot, Fortunato
Breakin’ Convention Louise Crane, Katherine Dalton, Technical Manager Events Manager Carian, Ben Coughlan, Kelly Dago,
Michelle Norton Ryan Epps, Florence Evans, Angela Zeynep Kepekli Alessio Romani Jesiel Da Silva, Jose Lary Legario,
Tour Producer, Breakin’ Eyton, Brandon Force, Ben Francis, Technical Coordinator Events Executive (Arts) Oumar-Florent Sam, Mercan
Convention James Hameed, Elspeth Harrison, Tom Hares Pascha Rix-Whippey Sahin, Thayaparan Eliyathamby
Emma Ponsford Paula Jones, Wesley Jones, Head of Stage and Flys Events Assistant Sinnathamby, Ziegfredo Tanilon,
Digital Communications Officer, Steph Lodge, Lee McDonnell, Colin Wilson Christopher Haddow Cyrille Tchaho Wandji, Antonio
Breakin’ Convention Thomas Montagu-Harrison, Sheila Head of Lighting and Sound Villanueva, Amani Yoboue
Dave Barros Motani, Grace Nyandoro, Joel Graham Cutting Visitor Experience
Education Coordinator, O’Donoghue, Paula Patritti, Rosalind Technicians Security
Breakin’ Convention Reeder, Rachel Salisbury, Nicola Kirsty Campbell, Kirstin Harrison, Head of Visitor Experience Security Officers
Shay Rafati Salt, Caitriona Shoobridge, John Rob Foskett, Aran Morrison, Howard Clark Andrew Ayinbode, Tariq Aziz,
Marketing Assistant, Sinclair, Lois Tucker Mark Noble, Ben Walker Visitor Experience Intern Canberk Gurel, Nii Lartey,
Breakin’ Convention Wardrobe Supervisor Serina Lopez James Moore, Mohammed Mulla,
Owen Ling Press Miwa Mitsuhashi Katie Torbett, Kemoh Sesay
Front of House Technical Lighting Supplier
Learning & Engagement Head of Media Relations The Peacock Senior House Manager
Director of Learning & Abigail Desch Technical Manager, The Peacock Marguerite Bullard With thanks to our colleagues
Engagement Senior Press Manager Paul Burgess House Manager at the London School of
Joce Giles Caroline Ansdell Senior Technician Haroula Lountzi Economics:
General Manager, NYDC Press Officer James Kazwini Deputy House Managers
Hannah Kirkpatrick Eugénie Dunster, Dan Macarthur Technicians Dara Brooks, Larry Harrison- Head of Conference & Events
Assistant Producer, Sophie Brown, Tom Pritchard Mateeba, Janine Kaufman, Rachel Ward
Creative Learning Corporate Communications Duncan Steer LSE Theatre Manager
Lucy Clarke-Bishop Lilian Baylis Studio Duty House Manager Sam Gaid
Projects Manager Senior Communications Manager Senior Technician Luigi (Gigi) Giannella
Elaine Foley Giulia Ascoli Fraser Thompson-Noble Front of House Sales The information in this
NYDC and Creative Technician Administrator programme was correct at
Learning Coordinator Development Pete Maxey Louise Cooper the time of going to print and
Rosalind Hewett Performance Cashiers may be subject to change.
Community and Director of Development Building Services Dara Brooks, Robert Churchill,
Engagement Manager Phoebe Reith Building Services Manager Chris Harmer, Larry Harrison-
Natasha Anderson Development Manager, Corporate Russell Lynch Mateeba, Alex Wood
Learning and Partnerships & Events Senior Building Services Front of House Assistants
Engagement Officer Sarah Drake Technician Jessie Acton, Christina Adonoo,
Sara Daniels Development Manager, Wayne Lawrence Marie-Claire Adriaenessens,
Individual Giving Building Services Technicians Josiane Adriaenessens-Gardes,
Producing & Touring Katie Wellington Richard Emmett, Mark Hobson, Keziah Allen, Winifred Arhin-
Specialist Support, Development Daniel Knapton, Ghion Mekonnen, Amankwah, Makiko Aoyama,
Executive Producer Anna Vaughan Connor Spencer, Darren Spencer Serael Asphall, Naida Babic, Paddy
Suzanne Walker Senior Development Officer Building Services & Barras-Hargan, Corinna Barker,
Head of Producing & Touring Rebecca Fogg Technical Coordinator Alex Barnes, Lisa Beck, Rochelle
Bia Oliveira Development Coordinator, Elsa Stevens Belfon, Amy Bentley, Dominic
Senior Producer Corporate Partnerships & Events Berry, Harry Blain, Lorea Burge,
Ghislaine Granger Ornela Salloum Becky Byers, Jane Chan, Vicky
Producer Individual Giving Coordinator Chapman, Rita Chowdhury, Belinda
Ellie Hartwell Katherine Sharp Clark, Ioana Delves-McGuire,
Tour Producer Trusts & Foundations Coordinator Helen Doyle, Barney Evans-Doran,
Aristea Charalampidou Sarah Wingfield Lindsey Fraser, Carina Griffiths,
Technical Production Manager Development Assistant Sally Hacking, James Hameed,
Adam Carrée Joely Langston


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