CAL PERFORMANCES PRESENTS PROGRAM

Saturday, February 18, 2006, 8 pm Sunday, February 19, 2006, 7pm Noche Flamenca Zellerbach Hall Martín Santangelo, Artistic Director Soledad Barrio, Lead Dancer

Noche Flamenca Featured Guest Artists Martín Santangelo, Artistic Director Isabel Bayon Soledad Barrio, Lead Dancer Antonio Rodriguez Jimenez “El Chupete” Juan Ogalla

Cantaores Manuel Gago Antonio Campos Guitar Jesus Torres Eugenio Iglesias

PROGRAM

La Plaza choreography by Martín Santangelo

“La Búsqueda”—solea por bulerias Antonio Rodriguez

Solo de Cante

“Maria”—alegrias Juan Ogalla

INTERMISSION

“Por Medio”—jaleo Isabel Bayon

Solo de Guitar

Martinete Antonio Rodriguez and Juan Ogalla

“Agarrar”—seguiriya Soledad Barrio Th is performance is made possible, in part, by the generous support of the members of the Cal Performances Producers Circle and Friends of Cal Performances. Fin de Fiesta

Cal Performances thanks our Centennial Season Sponsor, Wells Fargo.

20 CAL PERFORMANCES CAL PERFORMANCES 21 PROGRAM NOTES PROGRAM NOTES

A BRIEF HISTORY OF FLAMENCO guitarist maintaining the rhythm, adding further to the syncopation. In some forms, like the cante Th e precarious conditions of the Andalucian libre (free song), the compás is less apparent, but singer of the past made it inevitable that he/ the singer may break into an established rhythm she should dwell on the more tragic aspects which the guitarist then has to follow. Indeed, of existence. Even though conditions are now the singer is at liberty to improvise, whether the incomparably better, the feelings inherent in the toque (guitar playing) is free or in compás, and the cante are universal and timeless and represent a guitarist may not know beforehand what is to be link between past and present. expected of him. Andalucia, the region of southern Th ere is no evidence that the guitar was which is fl amenco’s home, has a strong musical initially used to accompany the cante, and even tradition documented from ancient times and today some of the most dramatic forms of cante are fl amenco certainly takes its place in that heritage. invariably performed unaccompanied. However, Th roughout the centuries, Andalucia absorbed it was certainly in regular use by the end of the peoples of diff erent cultures and backgrounds, 19th century and the guitar has an exceptionally including Romans, Jews and Moors. As far as long history in Spain, an early version probably fl amenco is concerned, the most signifi cant arrival being brought by the Romans. Th e lute was was in the 15th century when tribes of nomadic extremely popular in the rest of Europe during Gypsies settled in southern Spain. Th eir arrival the Renaissance, but was rejected in Spain as coincided with Ferdinand and Isabella’s conquest a foreign intrusion since it was of Arab origin. of , the last bastian of the Moors, and Furthermore, the vihuela (the guitar’s predecessor) the subsequent expulsion of Jews and Arabs from was more suited to the accompaniment of ballads Spain. by strumming, since the lute requires notes to Historian Felix Grande, writing about life in be picked more delicately. It was also cheaper to the 15th, 16th and 17th centuries, stated: “Th e produce and more robust. Jews were massacred, the Gypsies humiliated and In the 19th century, there were two types Choreography by Martín Santangelo and company members persecuted, the Arabs exterminated, the Moriscos of singing in Andalucia: the cante gitano of Produced by Martín Santangelo (converted Arabs) expelled, and the Andalucians the Gypsies and the cante andaluz. Silverio generally exploited…if we do not relate the Franconetti, an Andaluz of Italian origin and an Music Jesus Torres and Eugenio Iglesias music…to brutality, repression, hunger, fear, exceptional singer of Gypsy styles, was the fi rst to Vocal Arrangements Manuel Gago and Antonio Campos menace, inferiority, resistance and secrecy, then bring these two styles together. Th is integration Artistic Director Martín Santangelo we shall not fi nd the reality of cante fl amenco…it of both forms resulted in the cante fl amenco as it Lighting Design Adam Gabel and Kate Greenberg is a storm of exasperation and grief.” It was against has come to us—the end product being without Production Manager Kate Greenberg this background that fl amenco evolved. question greater than the sum of its parts. Company Manager Carlos Perez Vega Although earlier records suggest that fl amenco Th e wail of the cante jondo (deep song) was at one time unaccompanied, it is hard for us resembles the mournful chant of the exiled www.nochefl amenca.com today to imagine fl amenco without a guitar. In Sephardic Jews. Its poetry has the existentialist eff ect, the guitar forms an integral part of the angst and philosophical questioning common in General Management song; singer and guitarist are one creating the Arabic poetry. Th e dance, which evolved slowly, Jon Aaron cante. Th e diff erent types of cante provide the fully blossoming in the 1840s, suggests the fi xed Aaron Concert Artists basis for all fl amenco guitar playing. Most of the tonalities prevalent in Islam, the trance-inducing New York, NY cante has an underlying rhythmic structure which rhythms of Africa and the searching quality of aaronconcert.com must be strictly adhered to—the compás. One much Jewish music. of fl amenco’s chief characteristics is the complex Flamenco developed rapidly, gaining in artistic syncopation against the compás, with the cante stature as well as popularity. Establishments being sung almost entirely off the beat and the dedicated wholly to the performance of fl amenco

22 CAL PERFORMANCES CAL PERFORMANCES 23 PROGRAM NOTES ABOUT THE ARTISTS appeared throughout Andalucia and beyond. Soleares: One of the basic cantes. One can say that Th eater, Lortel Th eater or Th eater 80—are always Th ey came to be known as cafes cantantes, coff ee the soleares is the perfect form of cante fl amenco, a smash. For its New York performances in 2003, theaters, where refreshment could be enjoyed where beauty and depth of feeling are in harmony. the company received the Lucille Lortel Award for while watching the performance. Th ey were Its rhythm (12 beats to the bar) has its origin in a Special Th eatrical Experience. Performances in the similar to cabaret theaters, with as many as four simple dance called jaleo, consisting of three beats season ahead include debuts in Atlanta, Charlotte, shows per day. Although some of them survived to the bar, with the emphasis on the third. St. Louis and Chicago and return engagements in until the middle of the 20th century, they had Boston, Denver and Montreal. past their heyday by the 1920s. Taranto: Song and dance from the province Some of Spain’s most renowned artists have Dance has always been associated with of Almeria. Th e fl amenco dance possesses two worked, and continue to work, with the company, fl amenco. It is diffi cult to imagine this music extremes: the profundity of a seguiriya, a solea or such as Soledad Barrio, Belen Maya, Alejandro without movement. While sophisticated fl amenco a taranto, and the wild, uncontained gaiety of a Granados, Antonio Vizarraga, Rafael “Falo” dance companies have been touring the world for bulerias. Jimenez and David Serva. more than 50 years, it is the raw, unchoreographed Noche Flamenca’s vitality, energy and passion dances of Andalucian Gypsies that has maintained Tientos-tangos: cante y baile festero, from the villages orn of passion and desire, Noche Flamenca have won accolades around the world, with raves the art form in its most creative essence. along the Atlantic seaboard near Cádiz. Th e name was founded in in 1993 by artistic and standing ovations in Egypt, the United comes from the old dances of that region, which Bdirector Martín Santangelo and his wife States, Canada, Portugal and Spain. Because the produced three diff erent fl amenco styles: tientos, Soledad Barrio. Th rough years of persistence, hard company’s core group of artists have devoted years FLAMENCO DANCE FORMS tangos and tanguillo. In the tientos, the singing work and love, Noche Flamenca has developed into to its goal, Noche Flamenca has continually delved used to be a simple statement, uncomplicated in one of Spain’s most successful fl amenco companies. deeper and deeper in its quest for a profound art. Alegrias: A lively dance from Cádiz. Th e origin style. Perhaps owing to the special interpretation Since its inception, Noche Flamenca’s goal has been is in the jotas of Cádiz—traditional folk music of certain singers, it became more and more to maintain the essence, purity and integrity of one of Aragon, brought to the Andalucian town by serious and developed into a very profound style. of the world’s most complex and mysterious art soldiers during the War of Independence in the Th e rhythm that the guitar provides is founded forms without the use of tricks or gimmicks. Th e early 19th century. Th e main characteristics of this on a basic 4/4 pattern, although it is continuously company relies on the high standards of its artists as style are the richness of its guitar accompaniment, enriched by subtle accentuations on diff erent well as their profound understanding of fl amenco. the intricacy of the dancing, the demands of its beats or off beats. In contrast to tientos, tangos is All aspects of fl amenco—dance, song and music— diffi cult rhythm and its lively sound. sparkling and sensual. are interrelated and given equal weight in Noche Flamenca, creating a true communal spirit within Bulerias: Th is developed like soleares from a Martinete: A austere and rhythmical interpretation the company, which is the very heart and soul of simply style. However, unlike soleares, it has a of perhaps fl amenco’s most profound and oldest fl amenco. fast and lively rhythm—indeed, the fastest in all forms. Th e rhythm and song pertain to the Th e company regularly performs to sell fl amenco—and it provides enormous scope from seguiriya, but it is not accompanied by music out crowds in New York, Boston, Cleveland, improvisation on the part of dancers, singers (guitar). In essence, both the seguiriya and the Montreal, Toronto and Washington. In the and guitarists. It is wild, frenzied and lively, but martinete can be defi ned as searching for hope past few seasons they have debuted in Denver, nevertheless contains the germ of sorrow that is in a hopeless situation, or believing when there Seattle, Santa Barbara, San Diego, Miami and almost always present in fl amenco. are no longer reasons to believe in life, i.e. when Hawaii. In the fi rst part of 2002, the company confronting death. toured Australia and New Zealand for six weeks Cantinas: A distant cousin of the alegrias, but performing to great acclaim in every major city. the tonalities are very diff erent and the lyrics are Jaleo: A joyous, yet painful celebration of life, Noche has performed at the Hollywod Bowl, much bouncier and compact. family, marriage, etc. It is usually danced and Ravinia, Wolf Trap, Jacob’s Pillow Dance Festival, sung by gypsies in festive gatherings. It expresses the Florida International Festival, An Appalachian Seguiriyas: Another name for seguiriyas is playeras— the sense of vitality and joy of life, yet it contains a Summer Festival and with the Hollywood Bowl Martín Santangelo (Artistic Director) founded from placidera, meaning “hired mourner.” Th e somber and mysterious quality. Th e jaleo preaches Orchestra. Th ey also performed a two-week run Noche Flamenca. He studied with Ciro, Paco fact that the words often allude to death suggests that life has moments of wonders and joys but at Zellerbach Playhouse in Berkeley, and perform Romero, El Guito, Manolete and Alejandro that its origin may have been in the primitive wails tragedy might be waiting just around the corner. regularly in South America. Th e company’s New Granados. He has performed throughout Spain, for the dead. Indeed, the guitar accompaniment York runs—whether at the Public Th eater, the Japan and North and South America, appearing evokes the sound of bells tolling. Connelly Th eater, Joe’s Pub, the New Victory with Maria Benitez’s Teatro Flamenco, the Lincoln

24 CAL PERFORMANCES CAL PERFORMANCES 25 ABOUT THE ARTISTS ABOUT THE ARTISTS

Center Festival of the Arts and Paco Romero’s married to Artistic Director Martín Santangelo. performed as a soloist in all the tablaos in Spain, Carmen and Fuenteovejuna. He was commissioned Ballet Espanol. He also appeared in Julie Taymor’s Th ey have two beautiful daughters, Gabriela and such as Casa Patas, El Arenal and Los Gallos, as by Michiko Okamoto of Japan to create the Juan Darien at Lincoln Center. Stella. well as in many theaters in Europe, Japan and the musical arrangement for productions of Carmen Mr. Santangelo choreographed and performed United States. Th is is his fi rst season with Noche and El Amor Brujo. In 2004, he participated in the in Eduardo Machado’s Deep Song, directed by Lynne Isabel Bayon (dancer) was born in Sevilla and began Flamenca. Biennal de Flamenco de in the production Taylor-Corbett. He choreographed a production of her dance training at age fi ve with Matilde Cotral, of La Mujer el Pelele. Earlier this year, he performed Romeo and Juliet at the Denver Th eater Center. He by 16 she was awarded the title of Danza Española. Born in Cádiz to a family of fl amenco singers, in London for Bailaora Rafaela Carrasco. Th is is has directed and choreographed Bodas de Sangre, In the mid-1970s she debuted in a production in Manuel Gago (singer) began singing at the age of Torres’s ninth season with Noche Flamenca. Th e Lower Depths, La Celestina and A Streetcar honor of Antonio Ruiz Soler. She has appeared as a fi ve. By 14, he was singing in fl amenco festivals Named Desire, among many other productions in featured soloist and fi nalist in several productions with such well-known singers as Juan Villar, Charo Eugenio Iglesias (guitar) began playing Spain and Buenos Aires. of the Bienal de Arte Flamenco in Sevilla. She has Lobato and Rancapino. Later, he began singing professionally at a very young age, working in performed as a special guest with such renowned for dancers, including Joaquin Cortez, Sara Varas, all the important tablaos in Sevilla. He then companies as Compañía Andaluza, Compañía Rafaela Carrasco, Guito, Manolete, Javier Baron began touring with various companies, and has Joaquin Grilo and Compañia de Fernando and Cristobal Reyes. Manuel has traveled the accompanied many dancers such as La Tona, Belen Romero. Isabel has also choreographed for Ballet world, singing in Europe, Asia, South America and Maya, Javier Baron, Sara Varas, Mañuela Carrasco Nacional de España and Compañía Andaluza de the United States. Th is is Gago’s fi fth season with and Israel Galvan. He has also accompanied many Danza. In the XII Bienal de Flamenco in Sevilla Noche Flamenca. of the greatest fl amenco singers in Spain, including she presented her own company, Isabel Bayon Lole Montoya, La Negra, Chiquetete, La Susi, Compañía Flamenca in a production entitled Del Antonio Campos (singer) grew up in the shadows Carmen Montoya and El Potito. He is currently Alma. Recently, she worked with the Javier Baron of the Albaicin and the Alhambra in Granada. working on his own fl amenco show as composer Company and Pepa Gamboa. Th is is her fi fth Although there were no artists in his family, they and songwriter. Th is is his fi rst season with Noche season dancing with Noche Flamenca. shared a love for fl amenco. In 1997, he recorded Flamenca. a CD, Grana baile por tangos, with such noted Antonio Rodriguez Jimenez “El Chupete” musicians as Juan Maya Marote and Juan and Pepe Kate Greenberg (lighting design, production (dancer) was born in 1974 in Osuna and began Habichuela. He worked in tablaos in Granada, manager) is a graduate of NYU’s Gallatin School dancing at an early age in the fl amenco festivals, Madrid and Sevilla, and with artisits such as Mario of Individualized Study in lighting design and fairs and peñas of Andalucia. His dance training was Maya, Antonio Canales, Alejandro Granados, political theater. She has designed close to 40 not obtained in school but alongside professional Rafaela Carrasco, Rocio Molina and Juan Ogalla. shows in the New York area and has worked as a singers and dancers. He debuted professionally in Mr. Campos has participated in the Bienal de designer at the Pearl Th eatre, Doger Stages, the El Cordobes de Barcelona, considered one of the Sevilla and other festivals. He has traveled in the Provincetown Playhouse (with the Playwrights fi nest fl amenco tablaos of Spain. He has performed United States, Japan and South America. Th is is Th eatre of New York), Th eatre for a New City with the National Opera of Tokyo with Carmen his fi rst season with Noche Flamenca. and the Mazer Th eatre. Her work will be seen this Ledesma. He has also choreographed for Yoko spring in Pasion y Arte’s La Luna de Par en Par at Soledad Barrio (lead dancer) was born in Madrid. Komatsubara. Antonio has toured extensively as a Jesus Torres (guitar) was born in Barakaldo, Spain. Franklin Marshall College. She has appeared as soloist with Manuela Vargas, featured soloist in Italy, Germany, Holland, Brazil After years of training in fl amenco guitar, he moved Blanca del Rey, Luisillo, El Guito, Manolete, and New York. He continues to dance in tablaos in to Madrid in 1989 and began performing with a Carlos Perez Vega (company manager) was born in Cristobal Reyes and El Toleo, Ballet Espanol de Sevilla and Granada. Th is is his third season with host of renowned dancers, including Manolete, Asturias, Spain, and attended university at Escuela Paco Romero, Festival Flamenco and many other Noche Flamenca. Paco Fernandez, Sara Lezana, Raul, La China, de Topografi a Madrid. Carlos has been working companies. She has performed throughout Europe, Belen Maya, Rozio Molina and Elvira Andres. In in fl amenco since the 1970s. He was affi liated Japan and North and South America with such Juan Ogalla (dancer) was born in Cádiz. He starts 1991, he joined the fl amenco company of Maria with the Maria Benitez Flamenco Company for artists as Alejandro Granados, Isabel Bayón, Jesus as a professional at the very young age of 15. He Rosa and performed throughout Spain and Japan. 17 years prior to becoming company manager of Torres, Miguel Perez, Belen Maya, Manolo Marin, was a member of the Company Manuel Morao, In 1993, he appeared at the International Festival Barishnikov’s White Oak Dance Company. He has Javier Barón, Merce Esmeralda, Rafael Campallo Ballet de Cristina Hoyos, Manuela Carrasco, of Dance in Madrid at the Albeniz Th eater with advided many intenational fl amenco events across and Belen Maya. She has won awards in more than Company of Maria Pages and many others. He also Belen Maya. A year later, he joined the Compañía the United States during the past two decades 12 countries around the globe for her excellence in participated in many festivals, including Festival Andaluza e Danza directed by Mario Maya and and is the currently a consultant to Pasion y Arte dance. She recently received a “Bessie” award for Internacional de Mont de Marssans, Festival de participated in the Bienal de Flamenco Festival. Flamenco Company in Philadelphia. Outstanding Creative Achievement. Ms. Barrio Musica y Danza de Granada, Festival Flamenco de Mr. Torres was also involved in writing the musical is a founding member of Noche Flamenca and is Mahon and Festival Querencias en Ceret. Juan has scores with Antonio Gades for productions of

26 CAL PERFORMANCES CAL PERFORMANCES 27