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May
7th, 2000.
Merche
Esmeralda. Teatro Villamarta.
Unclosed cycles
Aesthetics
and dance of creamy tonality by Merche Esmeralda and her company, who created
a sense of flexible lightness of a show called "Ciclos" (Cycles)
Merche Esmeralda
The distinguished
bailaora did not quite get a full house audience at the theatre. Her grace and
good tone in the movements of her hands did not completely cover up the trivial
game of the group that surrounded her, whose participation was reduced to their
awesome costumes, designed by Esmeralda herself, nor did it cover up the light
refreshments of a trite choreography. In the end, two hours of show without interval
were filled up, but the "pataita" by Charo Manzano was worth the equivalent of
many minutes of a flat show.
Merche Esmeralda
The avant-garde
intention did not surpass the initial touch in the dance of Rosa Ochoa with five
bailaoras wearing pants... and you can't really understand those saccharin moments
with the voice of Queen's singer over sound of keyboard to begin and close the
movement. From then on, "palos" and more "palos" were intermingled over which
rose the voice of Charo Manzano.
The musicians made
their presence felt from the first "alegrias", with four guitar players which
seemed one, and the two bailaores were presented as the cantes "de trilla" of
El Falo were tuned.
Merche Esmeralda
"Martinetes". And,
of course, "bulerias". Light ones. Eight bailaoras of uneven quality, colorful.
Not at the same level of the "maestra" (master), who offered them a continuous
lesson in dancing. Under the focus of one sole spotlight, Charo introduced the
"seguiriyas" that Merche danced while holding her shawl, and with the excellent
"seguiriya" of Paco la Luz she performed a whirlwind of swirls. She is convincing.
When Esmeralda appears again surrounded by her bailaores, she tunes half a cante
"de zorongo" herself. The "rondeña" was heard. She danced alone the "solea"
with a "bata de cola" (flamenco dress) that had an exaggerated pleat at the back.
"Verdiales", "romeras"... She could withhold the music with her suspended body,
with her arms extended and the palms of her hands wide open to the public asking
for their applause.
Charo Manzano
The tenfold of
musicians in a line perform "tangos" without dancing, until Esmeralda appears
again, with a brilliant dress as an epilogue. "Ciclos" was closed with
the pataita of the cantaores (the multiple-performer Charo Manzano, Falo and Maria
Carmona) and the bailaores all throwing a rose to the crowd. Details and trifles.
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