Review: Soledad Barrio and Noche Flamenca Perform with Passion

There are two pieces on the program presented by Soledad Barrio and Noche Flamenca, currently at the West Park Presbyetearian Church, on Amsterdam Avenue and W.86th Street, which I am so glad to have seen on Wednesday, December 28, 2016. The Artistic Director and Producer is Martin Santangelo, who founded the company in 1993. His wife is the brilliant force of Flamenco dance and choreography, Soledad Barrio. The venue lends itself to spirit and emotion, main ingredients of this troupe of dancers and musicians. The lighting is not elaborate, but it is an extremely effective part of the production.

As La Ronde begins, a singer, center stage, makes one aware of the extraordinary acoustics, even more so when joined by musicians. Choreography is that of Barrio and Santangelo. This new work from Noche Flamenca is loosely based on Arthur Schnitzler's play, written in 1890s Vienna. The original play is structured as a series of interlocking scenes between couples. Musical composition was created by long-time Noche Flamenca guitarists Eugenio Iglesias and Salva de María. The dancers joined the group, adding their own percussive music. Immediately, we are transported to another time and place. The musicians set the mood with fervor. The first solo, danced by Marina Elana, is flirtatious and determined. Elana demonstrates classical dance training as well as Flamenco, visible in her arms, her turns, and her approach to the work. Jeanne d'Arc Casas, in the second dance solo, wearing a long dress with a train brings another attitude in her dance. She moves and manipulates the train, which seems like an extension of her body, with aplomb, with flow, circling herself like a dog chasing his tail, catching it and letting it go, beautiful and fascinating to see. Suddenly, she sheds her skirt, revealing long pants underneath. She dances with castanets. She exits in a huff. Two musicians enter, one with two canes, which he uses as instruments, like his feet and another sitting on a cajon (a rectangular box, used as a percussive instrument). Each musician makes a profound impression. Barrio brings us the third solo. Her strong back resonates through her dynamic legs, directly into the floor, telling passionate stories via dance and music. She is captivating. Juan Ogalla, dancer, shows passion and male sensuality.

Between the two dance works was Rondena, a musical piece, marvelously performed by Juan Ogalla. He is silhouetted, seated above the main stage, where the pulpit had been housed (no doubt), then joined by a singer also in silhouette. They are gently illuminated as two white lights are added to the magenta lights.

Creacion, the second piece, choreography by Santangelo and the company, brings hip hop dancers to join the Flamenco dancers. Guest artist, TweetBoogie is a hip hop artist whose fast, rhythmic movements, although wearing sneakers, keep up beat for beat with the Flamenco dancers. Her interchange with Barrio was equal in passion and dramatic appeal. The three female dancers of each style, Flamenco and hip hop, with male Flamenco dancer, Ogalla, and the guitarists and singers blend the two art forms in one composition. Music by Salva de María, Eugenio Iglesias, Hamed Traore, Martín Santangelo and vocal composition by Lila Blue, Manuel Gago, Emilio Florido, and Martín Santangelo framed the creation, with special guest singer Lila Blue.

This is a marvelous experience which can be enjoyed January 2-7, 2017. Nubian Nene will perform TweetBoogie's role. I enjoyed this evening as much as I had enjoyed seeing their Antigona, choreography by Barrio, last season, which will be performed January 10-14, 17-21, and 24-28.
Tuesday - Friday at 8pm, Saturday at 5pm & 8pm

Photo credit: Andrea Mohin/The New York Times

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