“Moron,
a tiempo y a compas”
Compañia Juana Amaya with Juan & Paco del Gastor
Friday, August 4th, 2006. Barclay Theater,
Irvine, California
Dance: Juana
Amaya, Nazaret Reyes. Guitar: Rafael Rodríguez, Agustín
el Bola. Cante: Enrique el Extremeño, David el Galli,
Luis Moneo. Percussion: Sergio.
Text and image:Beth Nesbitt
The heartbeat of true flamenco
The Irvine Barclay Theatre and artistic director Yaelisa
have once again brought the best of Spain’s flamenco
artistry to Southern California. The highly anticipated New
World Flamenco Festival’s fifth season opened with resounding
force to hearty crowds of appreciative viewers.
On Friday night, loyal fans crowded into the Irvine Barclay
Theatre to see legendary flamenco artists Juana Amaya and
guest artist, uncle Juan del Gastor perform their magic. Dedicated
to the city of Morón de la Frontera, deep in the heart
of Andalucia, the show was full of the heartbeat of true flamenco
and told a story of time and rhythm.
Juana Amaya’s consummate artistic mastery and ability
to compel an audience were apparent from the opening moments.
A spotlight highlighted the company seated around a low wooden
table. Rapping knuckles set the compás, haunting guitar
falsetas established the melody and richly impassioned singing
began the evening's presentation Bulerías. What immediately
came to mind was the classic scene in the film Los Tarantos,
with Carmen Amaya pounding out the compás on a wooden
table in knuckle-rapping frenzy. This presentation evoked
that same spirit.
All three singers, which included El Galli, also from Morón,
and El Extremeño, a last minute replacement for an
ailing Juan Jose Amador, displayed amazing vocal dexterity.
Superbly imposing dancing continued with Nazaret Reyes (pictured
here with Juana), daughter of Juana Amaya and Cristóbal
Reyes (you can imagine that gene pool!) ascending onto the
table for an impassioned performance. Juana finished off the
opening, ascending as well to continue the bulerías
with powerful footwork that expressed such pure joy that all
in attendance seemed to inhale its richness.
Choreographic intelligence and
maturity allowed each flavorful detail to hang suspended
The evening proceeded with the best of the best, a Martinete
into Siguiriya, featuring spotlighted solo work from all singers,
and Juana Amaya displaying mind-blowing footwork (no one can
match her) mixed with pure “aire” that was both
haunting and anguished. Ms. Amaya’s choreographic intelligence
and maturity allowed each flavorful detail to hang suspended,
dominate, then embrace the next, as if performed in a trance-like
state.
Solo guitar work by Juan del Gastor featured 20 minutes of
music that captured the bittersweet suffering of love and
life–true mainstays of flamenco. The duet work of El Extremeno
and guitarist El Bola embodied vitality and passion.
Friday night’s performance excluded dancer Jairo Barull
due to an ankle injury, but none were disappointed with daughter
Nazaret's fine cantiñas. This compact version of Juana
Amaya (an exact replica) exhibited all the styling and footwork
strength, with a forceful high-energy style of her own.
Juana again took the stage with a powerful Soleá por
Bulerías that transitioned into a brilliant Soleá,
dexterously unfolding and refolding around her signature palo,
with stern, imposing, technically perfect footwork. Make no
mistake: to witness Ms. Amaya’s brilliant, deeply personal
and soulful performances is like a small piece of heaven opening
just for you.
