FLAMENCO FESTIVAL LONDON 2006. SARA BARAS

Sara the Victorious

Silvia Calado. London, February 13th, 2006

‘Sabores’. Sara Baras: baile, choreography, direction. José Serrano, Luis Ortega: guest artists. Alicia Fernández, Cecilia Gómez, Ana González, Charo Pedraja, María Vega, Raúl Fernández, José Galán, Raúl Prieto, Daniel Saltares. José María Bandera: musical direction and guitar. Mario Montoya: guitar. Miguel de la Tolea, Saúl Quirós: cante. Antonio Suárez: percussion. José Amador: violin. Flamenco Festival London 2006. Sadler’s Wells. London, February 13th, 2006. 7:30 p.m.

Sara Baras (Photo: Nacho Gallego)

Sara Baras is at the peak. Following a month-long stay in Paris, she triumphs with her new show at Flamenco Festival London 2006, which is being held from February 10th to 25th at Sadler’s Wells in London. Neither the rain nor the supposedly cold English character hindered the hearty ovations, olés, shouts and stamping from the crowd. And it's not just the so-often-mentioned passion of flamenco which causes those reactions, but Sara Baras herself. The Cádiz-born bailaora combines in perfect balance technique, expression, communication with the audience, beauty, and of course, quality.

And the thing is that ‘Sabores’ (‘Flavors’) takes a step forward with regard to her previous shows without a storyline. As a whole, it is a well-rounded, elegant, dynamic show. The company presents a well-polished product with clean lines and without ups and downs. The solo pieces and choral pieces are perfectly balanced and strung-together, as well as the desired appearances of the star. And not just because of the choreography, but due to the suitable lighting – out is gloominess - and the use of a wide central corridor with two raised platforms for the musicians which provides another path, besides the side streets, for the entries and exits of the bailaores.

The show begins behind the scenes. The company warms up and gets the show ready, and the spectator starts to have a look around, like in the Gades trilogy. Sounding is the sweet music of violins, a bolero. Which ends up turning into pleasant tangos. Sara Baras introduces herself, but in the company of her guests. Dressed in a simple flared dress colored in a progression of grays, together with José Serrano and Luis Ortega, she dances a mellow number entitled ‘A fuego lento’. The simplicity is sought on purpose, the plastic art, the rests and the body music. Following the crescendo, the ovation is spine-tingling.

	Sara Baras (Photo: Nacho Gallego)

The company returns in ‘La noche oscura’. The choreographer moves it like the swaying of a boat... which is hypnotic. The second part of the piece is a break-away with impact: the bailaores beat out the rhythm on the floor with their knuckles, with their hands, and one by one they get up and do a brief but intense solo with their feet. Castanets sound from afar. They are Luis Ortega's, who comes to do his vintage solo through seguiriyas. Upon leaving the scene, he comes across Sara Baras, dressed in red, wrapped up in the spiral of her flare, an esthetic feature which now characterizes her. She dances a taranto hardly touching the floor; just curve, arms, hands. Next, the entire dance corps provides a contrast with a festive tanguillo. The light, the sound, the wardrobe, the entries and exits, the joining-up of the pieces … everything is impeccable.

Wearing a wide-brimmed hat, José Serrano does another solo through alegrías with many references to the classics. And once again, following her guest, a solo by Sara Baras. She comes out dressed in black with trousers, with chaps over them and a short top. Introductory baile … with her back to the crowd. The musicians play her a martinete, a rhythm she takes advantage of to display all her virtuosity, her perfect form and her musicality when striking the ground. Bare, sincere, strong dancing… With impact. The theater goes mad. She's also on the boat, letting herself be swayed together with her bailaores in a subtle zambra. From there, on to the soleá through bulerías… and setting sail for the final number: ‘Bulería de Concha’, a tribute to her mother, to the maestra. There's now a party both on stage and in the audience. Graceful dancing in the family, to the Lebrija beat. Encore. Encore. Encore. Another venue conquered. Paris fell. Barcelona fell. London has fallen.

Sara Baras (Photo: Daniel Muñoz)

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