Compañía
Rafaela Carrasco’s
“Una Mirada al Flamenco” (A Look at Flamenco)
Saturday, August 12, 2006. Barclay Theater, Irvine,
California
Text:Beth Nesbitt
A New Flamenco Mosaic
Saturday night’s highly anticipated “Una
Mirada al Flamenco” presented a fascinating new vision
of flamenco performance. Rafaela Carassco’s original
choreography embraces refined movement, sophisticated lighting
and haunting musical threads, pushing boundaries so strikingly
original, they defy categorization.
As
the third and final featured company in this year’s
Irvine Barclay Flamenco Festival, Compañía Rafaela
Carrasco took the stage for a new flamenco mosaic. Advance
buzz had it that Rafaela Carrasco was the hottest flamenco
dancer in Spain and not to be missed. But there was a surprise
as the evening unfolded, more striking as each number of the
seamless 70-minute nonstop production blended Andalucian roots
with jazz and contemporary influences. Of note was the impeccable
choreography, which offered a new model for translating an
intimate art form to a large audience.
Lighting designer Gloria Montesinos’ haunting spotlight-driven
opening ‘Bulería’, Encuentros, pushed all
boundaries of time and space. Ms. Carrasco stood poised, sinuous
arms twisting, punctuating vueltas quebradas (deep back-bent
turns), with crisp footwork driving the rhythm. Dancers were
individually highlighted – two, three, then five – each brilliantly
challenging the compás in small vignettes. Piano and
cello music from Pablo Suárez and José Luis
López, respectively, wove doleful melodies around solid
mainstays of the bulería, with the flamenco guitars
of Arcadio Marín and Jesús Torres superbly articulating
the compás.
Pushing boundaries so strikingly
original, they defy categorization
Solo un Solo, was a haunting Malagueña de Trini that
transitioned into Fandangos de Frasquito, featuring cantaores
Antonio Campos and Miguel “Picuo” emerging from
smoky darkness. These two impressive young singers presented
individual expression to this ancient and mournful song. Ms.
Carrasco then took the stage for a minimalist, heartbreaking
solo, which transcended the established rhythm to match Torres’
guitar arpeggios. Ms. Carrasco's dances have a compelling
formal logic, so that each unexpected entrance or departure
feels simultaneously inevitable.
The Farruca dazzled by setting a mood not based on personality,
but elemental presence. Highlights included a spot-lit Rafaela
caressing a bata de cola, clutching it sensually to her bosom.
One female and two male dancers enter dressed in black, whip-trained,
coiling batas, lending all a sculpture-like quality to their
ensemble effort. Throughout the evening, company dancers Concha
Jareño, Rocío Montoya, Daniel Doña, and
Ricardo López continuously displayed versatility in
expression.
Impeccable choreography…a compelling
formal logic…versatility in expression
Entre
Dos, a Taranto de Almeria, featured the vibrant tabla playing
of Nacho Arimany who also sang the punctuated Indian accents
to shouts of olé. A haunting Martinete featured strong
cante and dynamic rebellious choreography. Adding to the evening
was the arresting imagery of Pepa Carrasco’s beautifully
styled black and turquoise costumes, smartly accentuating
the boundless energy of the group.
The finale, a Soleá, captured the darker side of love
and portrayed the art form's aching embrace. A delicate cello,
lyrical piano, and expressive guitar and singing maintained
the intensity of emotion. Ms. Carrasco was again superb. She
is an elegant, refined, yet gutsy dancer and choreographer
who has made an indelible footprint in contemporary flamenco
as well as the world of dance.
Congratulations to artistic director Yaelisa, president and
producer Douglas Rankin, director of communications Karen
Drews Hanlon, and the superb staff of the Irvine Barclay Theatre.
What a fitting end to this year’s New World Flamenco
Festival and its theme “Sin Fronteras”.
