 |
   |
Isabel Bayon Companía Flamenca‘La Puerta Abierta’ (The Open Door) February 2007 London, Sadler's Wells by Carole Edrich |
|||||||
|
From the minute the curtain opened and she walked slowly into a semi-light spot Isabel Bayón had the audience in thrall. On stage through the entire performance she even changed clothes in front of the audience. From putting on the bata de cola to arranging her hair and attaching ear-rings, each movement was elegant and timely. Every gesture fit music and cante perfectly. Meanwhile, the door opened at strategic moments, a symbol of the struggle between internal and external mind. The baile (dance) was both simple and sophisticated. While gestures and footwork were clean, clear and beautifully executed, Bayón showed she’s no slave to tradition with little twists in interpretation or arrangement. A sensual and persuasive Milonga was followed by the joyful start of Alegrías. Live music and cante was replaced seamlessly by a recorded Martinete and the dance transformed, conveying grief, pain and loss. Then the piece segued back to Alegrías and a celebration of life, happiness and hope. Whether old-time cante from historic recordings or the rich, deep voice of Miguel Poveda the combination of music and dance transfixed the soul. Bayón danced with a perfectly timed fluidity, expressiveness and apparent lack of self consciousness that often made it seem that she really was dancing in a private room with no-one around.
Both bailaora (dancer) and cantaor (singer) had considerable stage presence and the chemistry between them served to enhance what was already an excellent performance. Performing the Paso Doble together was a soft and romantic challenge to the conventionally accepted relationship between bailaora (dancer) and cantaor (singer).
 © Isabal Bayon
|
||||||||
|
 |
||||||||
|
|
||||||||
|
|
||||||||
|
|
||||||||
|
|
||||||||
