EVA YERBABUENA. PREMIERE OF ‘SANTO
Y SEÑA’ IN SEVILLE
Retrospective
Carlos Sánchez. Seville, March 17th, 2007
‘Santo y Seña’.
Baile: Eva Yerbabuena. Dance corps: Eduardo
Guerrero, Mariano Bernal, Alejandro Rodríguez,
Juan Manuel Zurano. Cante: Enrique Soto, Pepe de Pura,
Jeromo Segura. Toque: Paco Jarana, Manuel de la Luz. Percussion:
Manuel “El Pájaro”. Clapping: Carlos
Grilo, Luis Cantarote. Special collaboration: José
Valencia. Teatro de la Maestranza. Seville, March 17th,
2007. 8:30 p.m.
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Eva Yerbabuena, soleá
(Photo archive Daniel Muñoz) |
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Eva
Yerbabuena takes a halt along the road in ‘Santo
y Seña’. A new show which synthesizes a bunch
of choreographies she has put on since 1998, the year
she created her own company. A look back with a view to
the present. A medley including bits and pieces of shows
such as ‘Eva’ (1998), ‘5 mujeres 5’
(2000) and ‘El huso de la memoria’ (2006).
Retrospective pictures displaying the artistic, creative
work of one of the top bailaoras on today’s flamenco
scene.
But ‘Santo y Seña’
isn’t a mere potpourri of bailes, but just the contrary.
Yerbabuena has woven together each choreography with the
utmost delicacy and common sense, seeking spectators’
attention from the very beginning through the surprise
factor.
The light turns on por seguirillas. Seated
under that beam of light, the image of the bailaora can
be vaguely made out. The artist, settled in the Sevillian
town of Dos Hermanas, awaits the guitar and cante. The
first lyrics arrive, coming from the throat of Enrique
Soto. In the first 'ayes' a spotlight aims at the Maestranza’s
first row of balconies. The Jerez-born cantaor is there.
Singing for the bailaora from the crowd. The attention
forks out into two spots; the stage and the crowd. The
audience splits up its regard in surprise. Eva surrenders
the lead to cante. The second set of lyrics is sent out
from the crowd. It’s José
Valencia, with that edge and depth he features. Pepe
de Pura seconds him. While Eva works out the seguiriya
from ‘5 mujeres 5’. Masterful with her feet.
Clean and tactful with her heels and the tips of her toes.
Superb in the series of lashes with both legs. Jeromo
Segura finishes off the male cante.
‘De la cava’ to ‘Las
cinco de la tarde’. The dance corps appears por
farruca. A choreography from her latest show, ‘El
huso de la memoria’. Sobriety, like in the show
as a whole. The color seldom shows itself. Symmetrical,
parallel and perpendicular movements and formations. Seeking
straight lines with upright bearing. Bringing out the
masculinity of this baile.
Yerbabuena takes over in the mirabrás
which she exceptionally performs in a bata de cola. A
choreography which also belongs to her latest show. The
cante joins in little by little on stage while the Granada-born
artist sways her figure through short, restrained movements.
Working them at the center of the stage with the necessary
moderation.
Eva Yerbabuena, mirabrás
(Photo archive Daniel Muñoz)
The dance corps again. This time por
bulerías by Eva, entitled ‘Rarapata’.
A string of little kicks connected to the movements of
the bailaor trio, commanded by Eduardo Guerrero, who covered
the necessary force this baile requires.
Eva returns with tientos-tangos. In a
red dress with black polka dots. The floor takes on color,
like her baile, which takes the shape of an immense white
circle. The bailaora’s presence fills the huge stage
of the Maestranza. Yerbabuena premieres her choreography
in a sea of details. Just like the clockwork rhythm por
bulerías certified by the dance corps. Resolutions
which are rounded off in the bailaora’s final soleá.
The password of her art. Of a majestic picture and impeccable
arm movement. Breaking her figure while the cante marches
before her silhouette. Mellow and anchored at the heart
of the stage. Until the cante and compás woo her
to finish off with the bulerías ‘A cuatro
voces’. A delight for spectators.
