SIXTH FESTIVAL DE JEREZ
RAFAELA CARRASCO & MANUEL REYES
JAVIER LATORRE COMPANY: 'AMBI-VALENCIA'

Evolution on display

Silvia Calado Olivo. Jerez, March 7th, 2002

FIRST PART. Rafaela Carrasco and Manuel Reyes: dance. José Anillo, Encarna Anillo: cante. Canito, Fernando de la Rúa: guitar. Pablo Suárez: piano. José Luis López: cello. Luis Escribano: bass. SECOND PART. Javier Latorre: direction, choreography, dance. Rosario Toledo, Juan Ogalla, Daniel Navarro. Londro, Miguel Ortega: cante. Paco Arriaga, Manuel Pérez: guitar. Antonio Montiel: percussion. Gretchen Talbot: violoncello. Teatro Villamarta. Jerez de la Frontera (Cádiz), March 7th, 2002. 9:00 p.m.

	Rafaela Carrasco y Antonio Reyes (Photo:Daniel Muñoz)
	Javier Latorre (Photo: Daniel Muñoz)

It was about how flamenco dance can be youthful without losing its way. About how today's flamenco dance is seen from different angles. About how to put flamenco dance shows together for the theater. Last night these issues were illustrated by the debuting team of Rafaela Carrasco and Manuel Reyes, and by Javier Latorre's veteran group. Style, balance and experience tipped the scales to the latter.

Once again the organizers decided to charge forward and give Seville's Rafaela Carrasco the chance to show off her abilities for the first time along with the Cordoban dancer Manuel Reyes. And independently of the dancing itself, the result was a show full of dynamism with the warmth of a well-worked thread and a harmonious musical backup. The couple presented itself a cappella with well-studied lighting that was a constant, then going through a series of alternating solos. First him...soleá por bulerías. A certain lack of enthusiasm in his bearing and the absence of 'pellizco' were evident, and afterwards in the seguiriyas as well, almost insipid, in spite of the quest for balance between slow measured grace and the hard surface of the floor. Then her...rondeña. This dancer had more to say, especially to her students whom she had on the edges of their seats throughout the entire performance. Dreamscapes, modernisms, but earthiness as well, and a bow to the past. Always arched, always rounded, her movements always hanging on the notes emanating from the piano, guitar, cello and bass, and on the velvet voice of Anillo. All this synthesized and highlighted in the taranto which wove its way to the compás of tangos. And together, aesthetic equanimity which was demonstrated not only in the pas de deux within the group, but also in 'Colores', the closing tangos which held a surprise: Manuel Reyes played sax for Rafaela...

Javier Latorre was the ace in the hole that made up for the daring first part. A regular at the festival, the flamenco and Spanish semi-classical dancer and choreographer from Valencia came to defend 'Ambi-valencia' at the Villamarta, a work which premiered in the series 'Flamenco viene del Sur' at Seville's Teatro Central. From the very first number, two principles became evident: equal conditions for all, whatever twenty can do, four can do better. Javier Latorre wanted to be just another dancer in the prelude, in the opening tangos and in the closing bulerías. And not one more turn than any of the others, not one single extra step. The group was unified and well-knit, and there was wisdom in the way they were made to move. Harmonious choreography. And afterwards, each one had his or her turn. Two by two for 'Aurora de Nueva York'. 'Omega', canned Morente for Juan Ogalla and Daniel Navarro. Fluidity, broken mirror. Sudden fade to black with palmas, guitar, cajón: martinete. Tall, slender and light...Daniel. Tension, presence...Juan. Masculine dance with no silliness. Rosario Toledo, taranto. The lightness of dance, the strength of flamenco. Repose, aesthetics. Eva-style. Fade to black: Mozart: 'Requiem por Antonio'. Javier Latorre, the semi-classical dancer, delicate, suave, elegant. A dash of footwork, but without shaking the spell. Violoncello. Dance it. 'Bailoncello'. "No encuentro el camino, será porque te has ido", ['I can't find my way, it must be because you've gone']. Search for it in alegrías, Manolete will carry you along from the behind the scenes. Extreme finesse. Flavor, moderation, silences. The audience rapt. And now, pretend nothing has happened, mix in with the quartet, play with the forms, with class, with unity.