SARA BARAS, ‘SABORES’. PREMIERE IN PARIS

Back to the origins

Céline Dupin. Paris, December 21st, 2005

‘Sabores’. Sara Baras: baile, choreography, direction, wardrobe. José Serrano and Luis Ortega: guest artists. José María Bandera, José Carlos Gómez: music. Alicia Fernández, Cecilia Gómez, Ana González, Charo Pedraja, María Vega, Raúl Fernández, José Galán, Raúl Prieto, Daniel Saltares: dance corps. José María Bandera, Carlos Gómez, Mario Montoya: guitars. Antonio Suárez: percussion. José Amador Goñi: violin. Miguel de la Tolea, Saúl Quirós: cante. Théâtre des Champs Elysées. Paris (France), from December 19th, 2005 to January 8th, 2006.

	Sara Baras on 'Sabores' (Photo: Nacho Gallego)

It's ten past eight in the evening. Sara Baras and her flamenco ballet are a bit late. But now the lights go out, the impatient crowd is in the darkness, like the ceiling painted in the early 20th century by French artist Maurice Denis. It is the third performance of the new show by Sara Baras in Paris and the theater is nearly full. On the contrary, there wasn't a single seat free on the first two nights. But enough. The theater is dark, and suddenly a star comes out on stage. The crowd is breathless. They know they are about to attend a unique event: the birth of a show, the pleasure of savoring the best flamenco ballet before most enthusiasts, and in particular, before the Spaniards.

Sara Baras' dress is grey, sober. She's tied the ends around her waist, so that they don't bother her in her movements. She dances as usual, with no surprises, so gracefully... She is encircled by the two bailaores who she shares the stage with in this premiering show: José Serrano and Luis Ortega, whose qualities are recognized. Moreover, José Serrano has choreographed two of the thirteen scenes in ‘Sabores’. Their faces are smiling: pure flamenco recently found anew is tastefully being celebrated here. And it's done so in memory of Sara's mother, Concha Baras, one of her maestras.

Time having passed, today Sara Baras now belongs to the select minority of the world's best flamenco bailaores. She is offering the Parisian audience her new show from December 19th, 2005 to January 8th, 2006. The thirteen scenes of the work speak of flamenco, of all flamenco: tangos, tanguillos, seguiriyas, zambras, alegrías... since it is a kind of tribute to the art always lived within the Cádiz-born bailaora. Accompanied by her ballet corps, two bailaores, and six musicians conducted by José María Bandera, she still holds the role of prima donna. When she leaves the stage, basically to change costumes, the distance with her colleagues grows. In comparison, the rest seem rather dull. And when she comes out again, the rest make way to leave her in the center of regards. Flattered, she makes a pleasant display of technique. Impressive. Perfect, professional heel-tapping, as fast as if she were levitating a few centimeters above the floor. Too much technique and not enough flamenco; that is what she's been reproached for on many occasions. And to fight that criticism, she's learned to use slow gestures, graceful movements full of sweetness and love, which also strengthen flamenco dancing. And when she hurls herself into diabolical heel-tapping, the sweetness left behind makes way for determination and willpower.

Sara Baras in 'Sabores' (Photo: Nacho Gallego)

Next, she returns to the stage wearing a purple dress. The light turns red. In the back, the bailaores of the dance corps are seated, and they incessantly watch those feet renowned for their speed. They follow Sara's rhythm, cheering her on with jaleos. The bailaora's body looks like a flower which doesn't know if it's time yet to bloom and show its beauty to the world. For a split second, she gives her entire being to the Parisian crowd. And the next instant, she wonders if it is her duty to thus offer her art to the spectators so easily. In fact, she already knows the judgment will be shallow and she leaves with a proud wave of the hand and her head held high. The theater goes dark once more.

A few seconds later, the lights are turned on again. Luis Ortega appears with castanets in his hands. He presents a demonstration of his genius, without any other music than the rhythm of his shoes. Shortly thereafter, Sara Baras returns and finishes with a really personal touch. She has a rose in her mouth. The lyrics by José Carlos Gómez grip the stage. Her face is concentrated, due to the strength she is about to display. The rhythm advances ‘in crescendo’. The bailaoras in the background cheerfully accompany her. We're in Seville or Jerez, at a typical tablao, or perhaps at an old singing café. All the ingredients brought together provide the scene with authenticity. They all end up approaching Sara, repeating the copla for the last time.

The curtain falls. A hearty applause. Sara Baras has won over the Parisian audience once more. And she pays them tribute. She comes back out several times to greet them with her entire ballet corps. Finally, she improvises one last baile, followed by José Serrano and Luis Ortega. A final bow. Until the next show... tomorrow, no less.

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