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Yerbabuena, one of Flamenco’s most celebrated contemporary exponents, is choreographer as well as dancer, and the show’s music is by her husband Paco Jarana, an outstanding guitarist. Four musicians led by Jarana accompany the nine dancers and three singers who form the company. The programme is framed by the image of Yerbabuena listening to an old wind-up gramophone, reflecting on the timelessness of Flamenco. In between, a succession of dances and songs displays the different aspects of the art form – by turns fast, slow, fiery, languorous, the dancers come together in groups or break away into solos where their dancing becomes an act of passion between themselves, the music and the harsh, wailing voices of the singers.
 

The ensemble pieces work well, apart from one number for three girls with fans which is weak and could be dropped. All the dancers are talented and well trained, but the heart of the performance is Yerbabuena herself, and she does not disapppoint. No glamour girl, this is a strong, mature woman with an absolute command of her art and the unmistakable stamp of a great artist. Technically, she gives a stunning demonstration of the Flamenco canon – the dazzling footwork, so fast her feet become a blur, the powerful, arched back, the immense control enabling her to move in a flash from perfect stillness to intoxicating frenzy. Above all, her trademark is her extraordinary arms – majestic at one moment, writhing like serpents the next, always expressive. In a word, she is magnificent. If you get the chance, see her.

A version of this review previously appeared in the South China Morning Post.