Flamenco has visceral, emotional and intellectual power. Expressive bodies and faces tell stories within stories. Compás and footwork set the pace and mood. Cante and music heighten the senses, exaggerate or emphasise a point or subtly change the flow of the dance. Sometimes it gels and the whole becomes far greater than the sum of the parts. Then you find yourself floating in a current of intellectual games and operatic extremes. This seldom happens in large venues because flamenco evolved for small intimate gatherings. The 2007 flamenco festival gifted us with more than one such experience and will be particularly memorable as a result.
Billed as a lecture-demonstration “The Making of a Spanish Dancer” was so inspirational that I wondered if the festival proper could move me as much. Two weeks later, dancing alone to taped old-time music and the charismatic Miguel Poveda, Isabel Bayón opened the door to an outstanding experience. Spellbinding, elegant and beautiful, the smooth sensuality and imaginative expression of choreography and movement appealed to both intellect and senses. It seemed unlikely that anything else could do the same.
Isabal Bayon
© Isabal Bayon
Such pessimistic expectations were unjustified. Completely different in terms of music, pace and context, the Gerardo Nuñez Quintet demonstrated a stunning range of jazz flamenco with mature, sophisticated baile that was satisfying to both mind and soul. After tumultuous applause at the end of the show it was natural to wonder if Carmen Cortés’ own show would be received with equal enthusiasm.
Cortés’ production, “Mujeres de Lorca” was wonderful in its own right and an intriguing interpretation of Lorca’s works. An engaging combination of traditional flamenco and contemporary dance it traced stories within stories, each passionately flamenco. The stagecraft was easily the best of the season. Lighting, sound, set (including a literal mountain of shoes) music, cante, costumes and dance resulted in a singularly spectacular night.
The final performance was Dress Rehearsal by Aire de Jerez. A group of talented children performed with such enthusiasm, honesty and depth of expression that the whole audience was drawn in and loved every minute. Nine year-old Miguel Rivero Parra carried himself like a miniature Joaquin Grilo. Slightly older, Juan Carlos Abecilla is born to dance. He already commands a captivating expressiveness that's the hallmark of true flamenco.
After twenty separate events the festival is over. Far from flailing with flamenco fatigue, this season has rekindled my enthusiasm in many different ways. A year’s too long to wait for more.
Festival Review at a Glance
Best interpretation and dance
“La Puerta Abierta” by Isabel Bayón. An hour of fluent, fluid grace, perfect patterning and intriguing interpretations accompanied by Miguel Poveda’s mellifluous voice.
Estrella Morente III
© Antonio Campos
Most mesmerising stage presence
“Estrella 1922” by Estrella Morente. A superb singer with a superstar’s stage presence. She can strike a pose with stunning effect and has the most incredible eyes. The evening would have been faultless had she danced less like a wooden soldier and more like the beautiful woman she is, but with such a wonderful voice no-one really cared.
Most inspiring performance
The fringe production “Making of a Spanish Dancer” by Dame Marina Keet and Sherrill Wexler of the Spanish Dance Society. This tour through the essentials of Spanish dance and flamenco was demonstrated by professionals and students of the Escuela de Baile. An excellent introduction and entertaining evening.
Most intimate moment
“La Puerta Abierta” by Isabel Bayón. Whether changing her clothes or dancing alone there were times when it seemed that she performed for herself and with nobody watching.
Most surreal moment
“Mujeres De Lorca” by Compañía Flamenca Carmen Cortés. Shoes that had fallen from the flies started drifting to the wings. Meanwhile those on stage continued to dance, oblivious to the flowing river of shoes.
Carmen Cortez
© John Ross
Best Party
Not a difficult choice since Noche de Juerga was the only party. A real Juerga with dancing in the aisles. Flamenco fun was had by all. Join in next year and experience a typical Spanish night that encapsulates the London flamenco scene.
Best stagecraft
“Mujeres De Lorca” by Compañía Flamenca Carmen Cortés. Stunning dance, fantastic lighting, and a great set that used seventeen hundred shoes. This high-level professional production was of a West End or Broadway standard.
Biggest revival
The Bata de Cola. It's well known that these long-tailed flamenco skirts have become very popular but still surprising that so many performers used them.
Most inconsiderate audience
Jaleos are good. Calling, clapping and commenting on the performers are an essential part of flamenco. Despite an excellent performance, Dorantes had to suffer a minority of people tramping in and out with heavy feet, speaking in semi-loud whispers and being as inconsiderate as it’s possible to be without being asked to leave.
Most atmospheric music
Gerardo Nuñez Quintet. Stunning music and dance that was both fiery and disciplined. This man is so talented that his flamenco fusion, Latin jazz and flamenco puro were equally fantastic. He’s also secure enough and has the artistic integrity to give all members of the quintet an opportunity to shine on their own. Get the CD.
Worst use of the Bata de Cola
Estrella Morente. Her rich voice is spellbinding and her stage presence stunning. When wearing it she looks every inch the star until she moves. I knew that a badly moved bata would end up sausage shaped but didn’t expect to see it happen on stage.
Longest solo
“Málaga en Flamenco” by Andalucía Flamenca. With a huge cast, this view of the influences on Flamenco of the region cast a very wide net. It might not have been the longest solo in the festival, but even though Sergio Aranda’s dance was technically brilliant and humorous in places it felt much too long.
Best chemistry
Between Nuñez and Cortés with the Gerardo Nuñez Quintet and between Bayón and Poveda in “La Puerta Abierta”.
Jauntiest Palos
Olga Pericet dancing Cantinas at the Gala de la Bienal de Sevilla
Most genuine performance
“Dress Rehearsal” by Aire de Jerez. Juan Carlos Abecilla is a talented and accomplished dancer despite his youth. Whether on his own or with others his performance was honest, appealing and fluid. This young man is one to watch. A star in the making, if he continues with dance he’ll eclipse all the others.
Strangest phenomenon
A flock of female flamenco fans followed Joaquin Grilo’s every move. They clustered as close to the front of stage as they could manage during the performance, jumped up to give their own special standing ovation and huddled around the stage door after the show. This may be common in pop and rock but it’s rare for flamenco at Sadler’s Wells!
Eva Yerbabuena in Espumas Del Recuerdo
© John Ross
Best Solea por Bulerías
Eva Yerbabuena. Ever the Maestra.
Most Jaleos
“Dress Rehearsal” by Aire de Jerez. Jaleos and clapping abounded. The audience was completely involved with the performance which, although it involved children, was completely professional and very well produced. An uplifting and inspirational end to the season.
(this review excludes Iberia and Pitingo which I was unable to attend)
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