SEVILLE’S 2007 FLAMENCO THURSDAYS.
RAFAELA CARRASCO
Warm
Carlos Sánchez. Seville, March 29th, 2007
‘ConCierto Gusto’. Baile:
Rafaela Carrasco. Cante: Miguel Ortega. Toque:
Jesús Torres. Percussion: Nacho Arimany. Piano:
Pablo Suárez. Cello: José Luis López.
Flute: Ramiro Obedman. 2006/2007 Flamenco Thursdays Series.
Sala Joaquín Turina. Seville, March 29th, 2007.
9 p.m.
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Rafaela Carrasco on
'Fuera de los límites' (Photo: Daniel Muñoz) |
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A warm, quiet flamenco is reflected in
‘ConCierto Gusto’. Rafaela
Carrasco feels the most intimate proposals. Fleeing
frights. She doesn’t seek sensationalist schisms,
but rather a harmonic whole. Interiority which she captures
in her dance. Baile that is intrinsic and at the same
time sincere. Redundant, but honest in its approaches.
With a style which goes beyond traditionalism, though
she takes shelter in the classicism of a piano or a cello.
Together with the baile of the Sevillian artist, the most
flamenco part was personified in the cante by Miguel
Ortega and the guitar by Jesús Torres.
The Sala Joaquín Turina limits
the stage possibilities. Something to really bear in mind.
Therefore, the most has to be made of the range of existing
possibilities. Rafaela knew how to read it in the bulería.
Playing with the dark spots and using three points of
light which she developed this first movement in. In a
gloomy ambience. Hardly appreciating the features of her
countenance. Revealing her bag of tricks. The show is
based on intertwining different bailes with different
musical pieces. Brushing flamenco with classical melodies.
Like Miguel Ortega’s cante por Levante with Pablo
Suárez on piano. Other compositions would come
later performed on string, wind and percussion by Nacho
Arimany.
Rafaela Carrasco on
'Del amor y otras cosas' (Photo: Daniel Muñoz)
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In the zapateado, the Sevillian bailaora
spread her arm movement of edges. With circular rotations
with withdrawn attitudes and sketching out foreshortened
poses. Just like in the malagueña, a flamenco style
which she’s been identified with lately due to that
magical
moment she offered a few years ago at Festival de
Jerez. Since then she’s had to include it in her
repertoire. The toque and baile aren’t amplified.
This helps the show make more sense, rounding off its
intentions. The space makes the foreseen approach possible,
since the sound is even vexing at times.
The farruca baile dressed up as a woman
in a bata de cola. Breaking its masculinity. The straight
lines turn into curves. The esthetics is something else.
Something different and daring. Like she herself. In crescendo.
Finally, she joins all the group with
the musicalized martinete. Revealing and adding her mastery
of footwork. Wearing trousers, attire she usually dons
on quite a few occasions. The harmony contends with the
emotion. The collage worked, though certain aspects displayed
a bit of linearity.
