Ballet Español de Murcia. “Penélope". Niño Josele. Teatro Villamarta, Jerez de la Frontera. Monday, March 1st, 2004. 9.00pm

Lead dancers: Beatriz Arce, Ramón Martínez, Estefanía Brao, Pedro Córdoba, Daniel Navarro, Carmen Coy, José María Maldonado. Corps de ballet: Ana Machua, Carmen Martínez, Natalia Pardo, Isable Abenza, Eva Martínez, Gloria López, Emilio Serrano, Andrés Fernández. Solo guitar: Carlos Piñana. Bass: Carles Benavent. Guitar: José Torres. Cante: Antonio Campos.
Flute: Raudel Betancourt. Violin: Luzia Sánchez. Cello: Marivel Cabrera. Percussion: Miguel Ángel Orengo.

The first day of March, fourth day of the eighth Festival de Jerez found us once again in the lovely venue which is the Sala de la Compañía, this time for the recital of Niño Josele and his group.

Ever since the young man from Almería made a splash in Seville’s 1996 Bienal, his name has been on everyone’s lips, and he is currently enjoying an especially sweet moment in his career. In 2003 he recorded his second solo CD, participated in Enrique Morente’s newest record, and the emcee of the Flamenco Hoy critics’ awards presentation quipped that Josele had been nominated in every category except best female dancer. He played a couple of pieces that were true solos, that is, without the support of other musicians, and an assortment of jazz-influenced compositions with his group that included the warm flamenco voice of Guadiana.

Guadiana & Niño Josele

An attractive, professional and entertaining show

‘Murcia’ you say? Yessir, though I must confess it was with the greatest trepidation I headed toward the encounter with the Ballet Español de Murcia at the Villamarta Theater. It’s seems to be a constant that in every festival there is always one ‘lemon’, and this show seemed to be the most likely candidate for the dubious distinction. So it was a pleasant surprise when what had sounded like another convoluted work (the program said “the story of Ulyses based on Homer’s Odyssey”), turned out to be an attractive, professional and entertaining show that paid scant attention to the story line. There were no stars except the corps de ballet itself, and of course, choreographer Javier Latorre. Famous faces were to be seen in the orchestra pit however: Carles Benavent on bass and Carlos Piñana on guitar.

Once the tangos, soleá, colombianas, martinete, siguiriyas, farruca and bulerías got under way, with a preponderance of the latter, the ancient Greeks turned into Andalusians like in the old Lola Flores film where the Egyptians dance por fiesta, and we discover that Ulyses has all kinds of great bulerías combinations.

Despite the presence of Granada singer Antonio Campos, there is too little cante, but this is a frankly agreeable production, with agreeable music that is at times truly beautiful, a tasteful wardrobe and a very good overall impression.

After the theater there was just enough time for a couple of quick sherries and tapas before heading for the Don Antonio Chacón flamenco club where young Carmen Herrera from Jerez offered her dance with the excellent backup of singer Jesús Méndez and guitarist Miguel Salado.

Carmen Herrera

Text : Estela Zatania

Theater Villamarta Program
De Peña en Peña Program: Trasnoches, De Peñas, Peña de Guardia
Other shows(Gloria Pura, Bordón y cuenta nueva, De la Frontera, Café Cantante, Sólos en Compañía)
Courses and workshops

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