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New York City Center Flamenco Festival 2018: Compania Eva Yerbabuena
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New York City Center Flamenco Festival 2018: Compania Eva Yerbabuena

- Onstage with the Dancers: Classical and Cultural Connections


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New York City Center &
Flamenco Festival 2018
Present:
Compañía Eva Yerbabuena
Carne y Hueso
www.evayerbabuena.com

At New York City Center
www.nycitycenter.org

Direction, Idea, Choreography by Eva Yerbabuena
Musical Direction by Paco Jarana
Technical Coordinator and Sound by Ángel Olalla
Lighting Design by Fernando Martín
Costume Design by López de Santos
Stage Manager: Daniel Estrada
Press: Joe Guttridge

Main Dancer and Choreographer: Eva Yerbabuena
Dancers: Cristian Lozano, Ángel Fariña, Fernando Jiménez,
Mariano Bernal, Alejandro Rodríguez
Guitar: Paco Jarana
Singers: José Valenciana
Enrique Extremeño, Alfredo Tejada
Percussion: Antonio Coronel

Dr. Roberta E. Zlokower
March 9, 2018


Program: “Memories”, “The Clown”, “From the Bridge”, “At Five in the Afternoon”, “Rondando”, “Appearances”, “Al quiebro”, “Salinas”.

Eva Yerbabuena, who won Spain’s National Dance Prize in 2001, wowed the flamenco aficionados at New York City Center’s Flamenco Festival 2018 tonight with her extravagantly dramatized solo performances, her rapidly clicking flamenco shoes, her multiple, grand, fringed shawls, which she winds around herself, holds into the air like wings, and swings with fervor to fill the stage space with dervish, textured color. Carne y Hueso, meaning “flesh and bone”, includes five additional dancers, a guitarist, percussionist, and three singers. The audience was mesmerized. Ms. Yerbabuena, a “bailaora” (female flamenco dancer), presented no less than eight unique dances, and she danced in three, although it seemed she seized the stage for the evening, as she was so magnetic and memorable. The only dance I found less than enticing was “The Clown”, with a faux red nose and vaudevillian choreography. I have always wished flamenco performances would include treanscriptions/translations of the singers’ laments, as they are so feverish and filled with angst, yet never easily comprehensible, even for one who has studied Spanish. The drama is inherent, however, and one is free to fill in imaginary, emotional meanings.

The singers and musicians were equally showcased, as were the additional five dancers. “Al quiebro” was dynamically performed by five male dancers, guitarist, and percussion. This was an evening immersed in flamenco gestalt. It was less consequential who, exactly, was onstage at the moment, but, rather, that the one-act flamenco performance was mesmerizing throughout. Most of the Spanish-speaking audience, who needed no transcription or translation, followed the singers’ laments with feverish “Olé!’s”. The takeaway imagery was of Ms. Yerbabuena in one of her numerous, massive, fringed shawls, beating the stage wind to appear as a falcon or heron, within a warm spotlight, thanks to lighting designer, Fernando Martín. Her costume designer, López de Santos, deserves kudos for such memorable, gorgeous imagery. The final piece, “Salinas”, with guitarist, Paco Jarana, percussionist, Antonio Coronel, and trio of singers, José Valencia, Alfredo Tejada, and Enrique el Extremeño, brought down the house. Kudos to New York City Center’s Flamenco Festival, and kudos to Eva Yerbabuena.



Eva Yerbabuena in "Carne y Hueso"
Courtesy of Daniel Perez



Eva Yerbabuena in "Carne y Hueso"
Courtesy of Daniel Perez


For more information, contact Dr. Roberta E. Zlokower at zlokower@bestweb.net