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La
Meira in Concert “Al Compás del Flamenco” Saturday, December 18, 2004, 8:00pm. |
Text: Mari Katsigianis in Boston
Featured Artist: La Meira.
With : Laura Montes, Dance. Cristian Puig, Guitar. David Castellano,
Cante & Guitar. Gonzalo Grau, keyboard & percussion.
If you're a flamenco fan, and you live in Greater Boston,
but you DIDN'T go to the Friday or Saturday performance,
then shame on you!!! This was top-shelf flamenco talent – pure and
simple!
The company started out in a café cantante version of classic
Bulerías de Cadiz with “…que el hambre lo vamos
a sentir” seated at a table on the floor in front of the stage.
It was magical and pulled the audience right in. In fact the show
hit the ground running so to speak, as it moved seamlessly into
“Garabato en blanco y Negro”, a piece offering the multi-faceted
talents of Venezuela's Gonzalo Grau with the musicians backing him.
Gonzalo is well-know in Boston and New York for his crossover showmanship
in both Flamenco and Salsa genres. His band «La Timba Loca»
has cut 2 CD's and they play all over including last New Year's
Eve at the Sydney Opera House. Gonzalo was amazing as always!
Long time New York Flamenco fixture, La Meira performed her frst
solo “Del Puerto a Cadiz yo vi…” in a charming
bata de cola which she commanded with much skill and grace for a
long time in a small area. It was pleasing to see a woman of her
vast experience look so comfortable in her own skin as she moved
so adeptly. The bata was attractive as well. As a reviewer, I sometimes
forget to comment on costumes, but I must say that the collection
of dresses which both La Meira and Laura Montes sported were muy
hermosa!
With performers of this caliber, there's
no reason to leave home
Photo by: Zarmik Moqtaderi
Argentina's Cristian Puig was up next with a terrific guitar solo
that rivals anything I've yet to see on the larger stages. “Laberinto”
was played with passion and control. His rhythm is flawless as is
his technique. The quality that Cristian most represents is that
of flamenco reality. His work is not pretend-flamenco, comprised
of agile finger work without substance. This artist has gravitas
and all in the NY flamenco community appreciate that fact.
Big surprise of the night has to go to New York native Laura Montes,
who has emerged in the last few years as a formidable dancer in
the genre. I last beheld her over 7 years ago on the Meson Flamenco
postage-stamp-sized stage. All I can say is «¡Ay Laura!»
She is very bold in her movements, and her footwork has become forceful
yet controlled as was evidenced in “Romance del rey moro”.
In fact, I was astonished at the clarity with which she now performs.
Also, if you watch Srta. Montes you will see that she gives her
all physically to the dance; her glow increasing with every second,
showing the true nature of a dancer who is lost in the fury of duende.
The Second Act brought the company back together for tangos in
“Triana, Triana” which typifies the Sevillian neighborhood
that embodies the very spirit of Flamenco. This band of non-Spaniards,
all hailing from the New World, created the very heart and soul
of a peña (flamenco club) like any other you'd find in Andalucía.
For all intents and purposes we the audience were transported to
Triana, and totally forgot that just outside, the cold raw Boston
night beckoned. For a moment encapsulated in this number the company
was showered with enthusiastic jaleos, as fortunate onlookers kept
time to the music with heels, palmas, and I daresay – their very
pulse. All was in unison to the compás, truly!
New Jersey boy David Castellano had everybody fooled. In “Relámpago
y tronio” we thought we heard sounds straight out of Jerez
or Madrid with that soulful voice, old beyond his twenty-something
years, but as fluid as the River Nile. This incredible voice had
such a melía, such a range, that notes were not out of his
mouth before the crowd shouted «¡OLE DAVID!» throughout
the piece.
Her energy devoured everything in its
path and the stage became very, very small
And this from a young man who has had NO formal training whatsoever!
By his own admission, he lacks the technical perfection of flamenco
singers who hail from the Spanish homeland, but no one that night
could tell. In fact if I were rating singers, I'd more likely rate
him higher that others simply because what he did that night moved
me. It was to me cante jondo of a most passionate nature. Maybe
some cantaors will forget more than he will ever learn, but I'll
pay to see David Castellano in the coming years, and pay top dollar
at that, because for me, he rocked my flamenco world.
La Meira's second solo of the evening a seguiriya entitled “Por
aquella ventana…” brought the house down with her incredible
arm-work and upper body movements reminiscent of a serpent in the
throes of hot, mournful lust. When you thought it was 'safe to go
into the water', she exploded with rapid-fire footwork and breathless
facial expressions that hypnotized an already spellbound audience.
Her energy devoured everything in its path and the stage became
very, very small.
As Center for Latino Arts director Sabrina Aviles stated just before
the show: «We have here in the US as fine an ensemble of flamenco
performers as anywhere (read Spain), and it is the mission of the
Center for Latino Arts to bring this kind of quality flamenco to
the people.» Indeed, the objective was well met! In the audience
that night was Ramon de los Reyes, of Boston's Spanish Dance Theatre,
whose very presence was an homage to La Meira's highly-regarded
position among flamencos everywhere.
La Meira's passionate solo was followed by “Aire” played
with tremendous style by Cristian Puig. The fin de fiesta – a lively
Bulerías highlighting each company member's special gifts,
closed the night with a standing ovation from the audience. Not
satisfied, they clamored for more, and the company returned to the
stage to accommodate.
Honestly, with performers of this caliber, there's no reason to
leave home, (unless it's to see La Meira y Compañía
perform somewhere else on this side of the Atlantic!).
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La
Meira in Concert “Al Compás del Flamenco” Saturday, December 18, 2004, 8:00pm. |
Text: Mari Katsigianis in Boston
Featured Artist: La Meira.
With : Laura Montes, Dance. Cristian Puig, Guitar. David Castellano,
Cante & Guitar. Gonzalo Grau, keyboard & percussion.
If you're a flamenco fan, and you live in Greater Boston,
but you DIDN'T go to the Friday or Saturday performance,
then shame on you!!! This was top-shelf flamenco talent – pure and
simple!
The company started out in a café cantante version of classic
Bulerías de Cadiz with “…que el hambre lo vamos
a sentir” seated at a table on the floor in front of the stage.
It was magical and pulled the audience right in. In fact the show
hit the ground running so to speak, as it moved seamlessly into
“Garabato en blanco y Negro”, a piece offering the multi-faceted
talents of Venezuela's Gonzalo Grau with the musicians backing him.
Gonzalo is well-know in Boston and New York for his crossover showmanship
in both Flamenco and Salsa genres. His band «La Timba Loca»
has cut 2 CD's and they play all over including last New Year's
Eve at the Sydney Opera House. Gonzalo was amazing as always!
Long time New York Flamenco fixture, La Meira performed her frst
solo “Del Puerto a Cadiz yo vi…” in a charming
bata de cola which she commanded with much skill and grace for a
long time in a small area. It was pleasing to see a woman of her
vast experience look so comfortable in her own skin as she moved
so adeptly. The bata was attractive as well. As a reviewer, I sometimes
forget to comment on costumes, but I must say that the collection
of dresses which both La Meira and Laura Montes sported were muy
hermosa!
With performers of this caliber, there's
no reason to leave home
Photo by: Zarmik Moqtaderi
Argentina's Cristian Puig was up next with a terrific guitar solo
that rivals anything I've yet to see on the larger stages. “Laberinto”
was played with passion and control. His rhythm is flawless as is
his technique. The quality that Cristian most represents is that
of flamenco reality. His work is not pretend-flamenco, comprised
of agile finger work without substance. This artist has gravitas
and all in the NY flamenco community appreciate that fact.
Big surprise of the night has to go to New York native Laura Montes,
who has emerged in the last few years as a formidable dancer in
the genre. I last beheld her over 7 years ago on the Meson Flamenco
postage-stamp-sized stage. All I can say is «¡Ay Laura!»
She is very bold in her movements, and her footwork has become forceful
yet controlled as was evidenced in “Romance del rey moro”.
In fact, I was astonished at the clarity with which she now performs.
Also, if you watch Srta. Montes you will see that she gives her
all physically to the dance; her glow increasing with every second,
showing the true nature of a dancer who is lost in the fury of duende.
The Second Act brought the company back together for tangos in
“Triana, Triana” which typifies the Sevillian neighborhood
that embodies the very spirit of Flamenco. This band of non-Spaniards,
all hailing from the New World, created the very heart and soul
of a peña (flamenco club) like any other you'd find in Andalucía.
For all intents and purposes we the audience were transported to
Triana, and totally forgot that just outside, the cold raw Boston
night beckoned. For a moment encapsulated in this number the company
was showered with enthusiastic jaleos, as fortunate onlookers kept
time to the music with heels, palmas, and I daresay – their very
pulse. All was in unison to the compás, truly!
New Jersey boy David Castellano had everybody fooled. In “Relámpago
y tronio” we thought we heard sounds straight out of Jerez
or Madrid with that soulful voice, old beyond his twenty-something
years, but as fluid as the River Nile. This incredible voice had
such a melía, such a range, that notes were not out of his
mouth before the crowd shouted «¡OLE DAVID!» throughout
the piece.
Her energy devoured everything in its
path and the stage became very, very small
And this from a young man who has had NO formal training whatsoever!
By his own admission, he lacks the technical perfection of flamenco
singers who hail from the Spanish homeland, but no one that night
could tell. In fact if I were rating singers, I'd more likely rate
him higher that others simply because what he did that night moved
me. It was to me cante jondo of a most passionate nature. Maybe
some cantaors will forget more than he will ever learn, but I'll
pay to see David Castellano in the coming years, and pay top dollar
at that, because for me, he rocked my flamenco world.
La Meira's second solo of the evening a seguiriya entitled “Por
aquella ventana…” brought the house down with her incredible
arm-work and upper body movements reminiscent of a serpent in the
throes of hot, mournful lust. When you thought it was 'safe to go
into the water', she exploded with rapid-fire footwork and breathless
facial expressions that hypnotized an already spellbound audience.
Her energy devoured everything in its path and the stage became
very, very small.
As Center for Latino Arts director Sabrina Aviles stated just before
the show: «We have here in the US as fine an ensemble of flamenco
performers as anywhere (read Spain), and it is the mission of the
Center for Latino Arts to bring this kind of quality flamenco to
the people.» Indeed, the objective was well met! In the audience
that night was Ramon de los Reyes, of Boston's Spanish Dance Theatre,
whose very presence was an homage to La Meira's highly-regarded
position among flamencos everywhere.
La Meira's passionate solo was followed by “Aire” played
with tremendous style by Cristian Puig. The fin de fiesta – a lively
Bulerías highlighting each company member's special gifts,
closed the night with a standing ovation from the audience. Not
satisfied, they clamored for more, and the company returned to the
stage to accommodate.
Honestly, with performers of this caliber, there's no reason to
leave home, (unless it's to see La Meira y Compañía
perform somewhere else on this side of the Atlantic!).
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