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Appearing were dancers Fanny Ara and Melissa Cruz, with Jason McGuire on guitar, two singers, Vicente Griego and Jesus Montoya and triple instrumentalist Gonzalo Grau with piano,cello and cajon, the percussion box hit with the hands.

With Fanny Ara as artistic director, the program's caliber was virtually assured, though there were glitches in the lighting and the sound system didn’t get adjusted until the second half. Kudos should go to Luna for Ara’s costume, tiers of ruffles starting below the kneecap, whether in white, or shades of rose and brown; tunics white, a patterned orangey-apricot, fringe or a transparent black lace over a white chemise - all accented Ara’s dancing without fussy distraction.

Grau at the piano started the program, the three other musicians standing immobile except for a brief section where the trio began to clap. With Ara executing Mi Querencia, Grau continued to use the piano, but followed by Melissa Cruz and Fanny Ara sharing a Zambra, La Nina de Fuego, where each were shadowed and backed by Montoya and Griego, accenting the call and response collaboration between singer and dancer, McGuire strumming furiously and Grau moving his palms to the cajon.

When Cruz came to execute her Tientos, her mixture of intense emotional strength mixed with a tentativeness was once again visible, her eyes searching , shoulders and arms slightly hunched in their pause before propelling her slender body into action. Rachel Howard has written of Cruz’ duende; that is apparent. What currently eludes her, is a capacity to pivot in turning, perhaps due to a stiff back; if pivot and torso bend were stronger, what a spectacle she could add to her obvious warmth, pleasure and ability to relate to an audience.

Fanny Ara
© Andy Mogg

Ara completed the first half of the program with a masterful Alegria, form always elegant, the reach of her arms generous, frequently evoking unseen forces, body occasionally concave , legs striding in earthy response yet with vulgarity absent, fingers spread in exclamation to the rhythms, leaving the stage abruptly, provoking a gasp of delight.

The intermission was followed by a Juerga, Griego repeating his capacity for full-bodied wailing as introduction to a style, his physical size reminiscent of the late Luciano Pavoratti. Jesus Montoya provided a genial presence yet impassioned delivery and Jason McGuire gave an equally intense presentation on guitar.

Ara returned for her Solea and then was joined by Melissa Cruz for a joint Siguirya where they were again closely paired by the singers. Each dancer retired from the stage as the other delivered her variation. During her part Melissa Cruz faced by Vicente Griego; both garbed in black with Cruz nearly in profile under a spot; the effect was eerie and electric, mysterious and secretive. In her variation, Ara seemed to reach out, imploring.

The musicians played a Petenera before Ara came out to play Gymnopedie I as Grau returned to his cello. Badly obscured by faulty lighting, Melissa Cruz could be seen faintly on stage right evoking the dreamy cadences of Eric Satie’s wonderful score.

At the end Ara brought each artist forward, before they clowned around a bit; at a sign they exited in high spirits on stage left. Despite the faulty lighting and sound arrangements, the musicianship and dancing made one feel, out in the pleasant warm evening, the distinct satisfaction of a substantial aural and visual repast.