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12th
of May, 2000. Teatro Villamarta. Jerez.
Eva La Yerbabuena
Essence from the heart and metaphor
Eva la
Yerbabuena presented the first show of her company with slight variations, including
the support of Javier Latorre, and the presence of a devoted public
"Eva" began with
her dancing of curves close to the phonograph, moving sinuously, just as she did
when she held the premiere at the past Bienal de Flamenco de Sevilla (1998). Her
swinging moves. The variations began with the cantaores under a vertical spotlight
singing "por tonas", in this order: Enrique Soto, Segundo Falcon y Arcangel.
The lights shine
for the musicians playing "por bulerias" with a soprano sax. Behind the three
bailaores sprouted a phosphorescent set of curves: it was Eva, illuminating her
backward arching, a chrysalis with a pure "bata de cola" (dress) wound around
her, rising "por granainas" from the "Torre de la Vela" in her languid
and polished metamorphosis. She doesn't allow the "tacon" (heel of the flamenco
shoe) to be heard once, only the slight brushing of the "bata" in each turn. A
white caressing Ferris wheel.
Javier Latorre
then appeared in black following on the mobile sketches that she had drawn for
him "por solea", over which he applied his distinct authority and skill. After
him, there came an acceleration and deceleration of "seguiriyas" and "bulerias"
with the two bailaoras and the three bailaores, of whom the nerve of Eduardo Lozano
was the most distinguished feature.
Eva started dancing
without musical accompaniment until the soft sound of the guitar "por solea" of
her husband (and composer of the music, Paco Jarana) caressed her. She developed
her dance in a very slow motion only to then surprise you with five different
poses in a second. The crowd went wild in those final furious moves. The "solea"
rose among the cheering of the three good cantaores adding three different and
complementary voices: Enrique, the eldest of the four Sordera brothers (the only
one who has not participated in the festival is Sorderita); Segundo ("Second"),
so many times number one; and Arcangel, adding the high tune, gaining compensation
as he was this time more comfortable than at his performance previously in the
week at the mosque.
Hypnotism. It was
fascinating to follow Javier and Eva, for once, in their parallel evolution; he
takes on her style and she, tempted by him, takes on his style, and together they
carry some of that which Lorca once said of the "duende", "tuetano de formas"
(the essence or the heart of the forms). The ending is prepared with long "tangos",
first danced by the men, then with the addition of three women, one of them Eva,
who is on fire. She doesn't follow the "compas" (marked rhythm); she creates it
and carries it with her; the musicians follow her moves. Again the silence, then
the sounding of the phonograph, the guitar, her turns, the sudden moves... she
finally fell exhausted into her seat, after so much magic performed with precision.
Eva, the favorite of the foreigners, inflamed Jerez.
Luis Clemente
Traduccion/Translation: Pekka Odriozola
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