EL MONTE'S ‘FLAMENCO THURSDAYS’ IN SEVILLE. EVA YERBABUENA

Baile's ‘Golden Key’

Carlos Sánchez. Seville, October 6th, 2005

‘Yerbabuena’. Baile: Eva Yerbabuena, Luis Miguel González, Eduardo Guerrero and Mercedes de Córdoba. Cante: Pepe de Pura, Enrique Soto, Rafael de Utrera and Jeromo Segura. Guitars: Paco Jarana and Manuel de la Luz. Percussion: Antonio Coronel. Sala Joaquín Turina. El Monte Cultural Center. Seville, October 6th, 2005. 9 p.m.

In grand fashion. That's how a new season of ‘Flamenco Thursdays’ began at El Monte Cultural Center in Seville. On a night when autumn bashfully made an appearance, Laraña Street smelled like ‘yerbabuena’ (mint). Sala Joaquín Turina was jam-packed. Expectations were sky-high. Everyone wanted to see her. And with good reason. Nobody wanted to miss one of the greatest bailaoras flamenco has ever known. And if not, you can ask more than one of the spectators after seeing her dance through soleá. As Matilde Coral puts it: “Eva should be given Baile's Golden Key (Award)”. The incombustible Sevillian artist's reasoning is sound. Because what Yerbabuena did through soleá should be framed and left to rest in a museum showcase. That is called ART.

	Eva Yerbabuena

The Granada-born artist came in with a small format - due to questions of space -, but with great quality. They say that great things come in tiny packages. And Yerbabuena couldn't be less. For the occasion, she chose features from the choreographies of the shows ‘Flamencos de la cava’, ‘Cinco mujeres cinco’, ‘Eva’, ‘A cal y canto’, ‘La voz del silencio’ and ‘A cuatro voces’. The best ingredients to whip up a dish that satisfied even the most demanding palates.

She came with four cantaores. She herself confesses that cante is her “catalyst”. The artist was accompanied by part of her dance corps. Mercedes de Córdoba, Eduardo Guerrero and Luis Miguel González kicked off the show through martinetes. Anchored on stage, arching their bodies to the forceful voice of Enrique Soto. Beauty, elegance. It was the preamble to the seguiriya ‘Hoyo de las Agujas’. Chords ring out from Paco Jarana's excellent guitar. And she appears with dreamy bearing. Sporting a bullfighter's jacket with sequins. Yerbabuena's essence impregnates the first rows of seats. Eva relaxes and feels with every sigh. With poise and distinction. Embossing herself in every movement. Marking a series of praiseworthy ‘whips’. She's already shown her credentials.

The dance corps returns through bulerías. Responding to one another. They also have their place. Eva Yerbabuena, attired in old-style black mourning clothes, returns in the soleá ‘Del puente’. Pepe de Pura opens the gateway to glory for her. The first olés could be heard with a simple back and forth wrist movement. The audience tries to contain itself, but it can't. Her baile starts to seep into the guts of those present. In every withdrawal, in every step, in every arm movement, with a simple glance. Freezing time as only she knows how. Deploying her entire range of resources, which aren't few. Turning more flamenco than ever. The crowd explodes. Out come the pent-up emotions. Paco Jarana's guitar gives her a breather. Just a few chords, because in no time she was back out on stage again through alegrías. She wanted more. This time in cream color. Strolling around delicately. Delighting with really personal stances. With more flamencura, if possible. They all bade farewell through tangos. She is in ‘Mint’... condition.

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