Since the extraordinary dancer Patricia guerrero took over the direction of the Ballet Flamenco AndalusiaThe group is enjoying robust health. Not only has it recruited a cast of unquestionable artistic talent, but its productions are also receiving undeniable acclaim for the quality of their work.
The patio of the Santa Cruz la Real College of the city of the Alhambra hosted the Gala of the 15th anniversary of the proclamation of the flamenco as intangible heritage of humanity with all the tickets sold and an audience devoted to enjoying this new work by her fellow countrywoman, since Guerrero received the first kiss of light in Granada, to whom the dancer compliments on the woodwork in her first Biennial.
The show lacks a plot or a story that connects it. It is a succession of loose pieces strung together with simple but decisive transitions. And like continuous homages, they pay tribute to flamencos illustrious, palos, territories or great masters, such as Arturo Pavon, the romances, Malaga, Mario Maya, the Sacromonte and the cantesy singers from Granada, paying special attention to the figure of Enrique Morente.
Lucia the Bronze She opened by embroidering a passage featuring the shawl. The pre-recorded music was composed by Arturo Pavón. Part of the dance troupe –Adriana Gomez, Angel Fariña, Blanca Lorente, David Vargas, Lucia La Bronce and Jasiel Nahin, as stated in the program – danced the cane, set to music with exquisite originality by the guitarist Jesus Rodriguez, splendid in composition and touch, like its partner in the Bajañí José Luis Medina, cante de Amparo Lagares, Manuel de Gines y Sergio the Redhead and the precise percussion of David Chupete. María Carrasco shone in the petenera. Intense, deep, filled with depth. It did so in the shelter of the honeyed, contained, sensitive and well-toned throat of Manuel de Gines, who curled the remediator and the I would like to deny de The Girl with the Combs with silky swaying motions. Maria ended her dance just as she began: with the ruffles of her gown raised, hiding her face. Some members of the male cast continued –Álvaro Aguilera, Arturo Fajardo y Hugo Aguilar– with knee turns, castanets and classical steps neatly evoking Lorca's echoes in memory, through verdiales. Araceli Muñoz He stood out with elegance in his markings and flamenco in his swaying when he arrived at the corridos and romances with the Utrera native. Sofia Suarez and the granaína Claudia La Debla, a prodigious dancer of insulting youth. The singers in this piece are tremendous.
"The choreography was excellent, almost always conceived by the performers themselves. Each member of the dance troupe was more than capable. Two excellent guitars. Three gifted and distinct voices. The percussion was very good. (…) The Ballet Flamenco from Andalusia, with Patricia Guerrero as director, has captivated me again. palmas "They are still playing in Granada"
Sergio rocked his throat through granaína and half granaína in an exercise of renewal of the cante, without distorting the essence and with great taste. The same he had when accompanying Patricia Guerrero, dressed in red and with fringes, on bulerías. Without any instrumentation, just in time, they created one of the memorable moments of the night due to its freshness and the magnificent choreography, full of soniquete, very personal figures and very flamencoPatricia excelled in her arm movements and the definition of her feet, as well as in the cuts that defined her figure in her own unique moves that are unlike anyone else's. She has her own unique stamp.
The entire female cast came out to the patio with tambourines in their hands to paint a costumbrista, 'folkloric', traditional scene. Possessed by the breeze of the sacromonte, the women danced wildly and happily cantes granaínos, evoking the zambra, the cachucha, the alboreá, the mosca and even the roa, concocting a beautiful ritual that ignited the audience, touching the local hearts due to their fondness for their particular sounds flamencoand popular customs. Claudia dared to sing tangos from Granada, also remembering those from gherkinThe final image was applauded to the fullest.
And the tables turned on the solemnity that Guerrero wanted to give to Teacher, in honor of Mario Maya, a fragment in which she herself, wearing trousers and accompanied by the entire male dance corps, recreated with respect and brilliant execution the passage where they grab her by the arms and she struggles, dancing for her freedom. Absolutely sublime.
To close the matter they were inspired by the work of Morente, whose voice we heard tangled among the moans and thirds of the rest of the singers located on the balconies, including Chupete's drums, leaving the stage empty and rescuing the orthodox and modern dimensions of Enrique staged from the musical eclecticism and the genius with which he projected his vision of the flamencoThis was called Eternal. And it ended with laments of seguiriya, preceded by the Morentian mantra —although it was night—, mourned by Sergio El Colorao.
The choreography was excellent, almost always conceived by the same performers. Each member of the dance troupe was more than capable of delivering. Two superb guitars. Three gifted and distinct voices. The percussion was very good. With these ingredients, they reached an hour and a half of performance, praising Granada. The sound system was somewhat poor, which at times blurred the music with the voices and footsteps, causing them to blend together in a ball of bass with annoying reverberations. Perhaps the only flaw I saw. Because the Ballet Flamenco from Andalusia, with Patricia Guerrero as director, has captivated me again. palmas They are still playing in Granada.
Credits
Ballet Flamenco Andalusia
Gala of the 15th anniversary of the proclamation of the flamenco as intangible heritage of humanity
1st Granada Biennial
Santa Cruz la Real College, Granada
9th September 2025
Dance and artistic direction: Patricia Guerrero
Dance troupe: Adriana Gomez, Araceli Munoz, Blanca Lorente, Claudia La Debla, Lucia La Bronce, Maria Carrasco, Sofia Suarez, Alvaro Aguilera, Angel Fariña, Arturo Fajardo, David Vargas, Hugo Aguilar and Jasiel Nahin
Cante: Manuel de Gines and Amparo Lagares
Guest artist at the cante: Sergio El Colorao
Guitars: Jesús Rodríguez and José Luis Medina
Percussion: David Chupete
