Saturday, January 31, 8pm. Cutler Majestic
Theatre, Emerson College, Boston.
Dancers: Sara Baras, José Serrano (Guest artist),
Raúl Fernández, Cecilia Gómez, Charo
Pedraja, Raúl Prieto, Auxi Fernández, Ana González,
María Vega. Guitars: José María Bandera,
Mario Montoya.
Singers: Miguel de la Tolea, Saúl Quirós.
Percussion: José Motos.
Violin: Amador Goñi. Musical
conductor: José María Bandera
Programme: Martinete, Soleá por Bulería, Jaleo, Farruca,
Bulería, Seguriya (choreography: José Serrano),Soleá,
Fin de fiesta
Having seen Sara Baras last year at the 2003 Boston
Flamenco Festival, I can honestly say that I was not prepared
for the simply astounding quality of this dancer and her company.
Footwork (always Olympic-level) along with brilliant
choreography, superb lighting, and magical costumes created
what was for this reviewer the best flamenco of 2004 and perhaps
one of the best shows I have ever seen!
Let's begin with the musicians… all of them highly professional
and technically adept but also conveying artistry above and
beyond.
José María Bandera and Mario Montoya graced
the stage with romantic guitar soleas, fiery seguriyas, and
intense bulerías, while never taking their eyes from
Srta. Bara's lightning-fast footwork. Miguel de la Tolea was
the consummate gypsy cantaor with a haunting and mellifluous
voice full of power and pathos. His voice took me right back
to the Barrio Santiago on a cold March night…incredible!
Percussionist José Motos displayed his tremendous talent
with the ability to imitate American urban street percussion
artists in one piece that then transformed to flamenco compás.
The gypsy violin of Amador Goñi haunted several pieces
as well. Under Bandera's musical direction, this group can
play anywhere they please!
The dancers were as gratifying as they were delightful…
They blew me away with the first number, Martinete, and proceeded
to carry the show with each succeeding number.
The grace and fire of the older
generation of flamenco dancers
The totally masculine José Serrano (guest artist)
was indeed a match for Srta. Bara's energetic style, matching
his own passionate form and footwork to hers in the amazing
fourth number, Farruca. It's always a pleasure when an artist
I haven't seen before comes to my attention, proving yet again
what a wealth of talent the flamenco world has. What a pleasure
to see a dancer with his style take possession of the stage!
Costumes, lighting, sound, all were impeccable and this true
Andalusian style performance indeed represented Sevilla. Good
thing the mayor of Sevilla (Alfredo Sánchez Monteserín)
was there to see how much the Boston audience treasured the
experience.
Sara Baras – well what can one say? She is perhaps one of
the finest flamenco performers in the world, with an energy
and talent that comes from beyond mere practice. It comes
from deep within the soul, born of souls immersed in flamenco
puro. Although there was a lot of contemporary structure in
the choreography, Srta. Baras conveyed the grace and fire
of the older generation of flamenco dancers. Footwork as always,
superhuman, as evidenced by the Farruca and Bulería
coupled with the sinuously sensual armwork of the Soleá
made her someone you couldn't take your eyes from, she was
that magnetic! I must confess that I was not a huge fan of
her last production – but having seen this one, can understand
the clamor for her, both in Spain and abroad. I have indeed
changed my status to that of Sara-Baras-Aficionada…forever.
Mari Katsigianis – Correspondent for Flamenco
Buzz www.flamencobuzz.com
Photos: www.sarabaras.com
