CAL PERFORMANCES PRESENTS

Friday, February 8, 2013, 8pm Zellerbach Hall Soledad Barrio & Noche Flamenca Zarmik Moqtaderi Zarmik

La Noche Quebrada

Cal Performances’ 2012–2013 season is sponsored by Wells Fargo.

CAL PERFORMANCES 33 PROGRAM PROGRAM

Soledad Barrio & Noche Flamenca Noche Flamenca in La Noche Quebrada Artistic Director and Producer Martín Santangelo Choreography Martín Santangelo, Company members with guest artist Music Salva de Maria, Eugenio Iglesias Antonio Jiménez Vocal Arrangements Manuel Gago, Jose Jímenez Cantaores Lighting Designer & Technical Director S. Benjamin Farrar Manuel Gago Company Manager Mariola Rodríguez Fernández Jose Jímenez Booking Manager Jeffrey Rosenstock

Guitarristas www.nocheflamenca.com Salva de María Eugenio Iglesias Noche Flamenca’s United States tour and New York season are supported, in part, by an award from the National Endowment for the Arts. Support has also been provided by The Harkness Foundation, The Bailaores DuBose and Dorothy Heyward Memorial Fund, and The Fan Fox and Leslie R. Samuels Foundation. Sol La Argentinita Marina Elana

PROGRAM

La Plaza The Company Choreography by Martín Santangelo

La Mansa Lluvia Cal Performances Honors Choreography by Soledad Barrio Volunteers with the “Bob Dixon” Award

Encuentro Antonio Jiménez ach year, the Cal Performances’ Front of House staff recognizes a volunteer usher E for their extraordinary service by giving them the Bob Dixon Volunteer of the Year Solo de Cante Jose Jímenez & Manuel Gago Award. The Volunteer of the Year Award is given to the volunteer usher who best exempli- fies what it means to be a volunteer usher, and is named after the award’s first recipient, Bob Dixon. This year, the award was given to Kirk and Adria Peterson. Kirk and Adria INTERMISSION have ushered at Cal Performances for nearly a decade, and they can often be found direct- ing patrons to their seats on the Orchestra level of Zellerbach Hall. Their willingness to help out in innumerable ways and their ability to foster phenomenal relationships with Quebradas The Company our patrons and other staff members is remarkable. The student management team loves Choreography by Martín Santangelo to work with the Petersons, and Cal Performances always knows that a show will run smoothly when the Petersons come to work. Congratulations to Kirk and Adria Peterson! Mediodía Martín Santangelo & Salva de Maria

Soledad Soledad Barrio

The program is subject to change.

34 CAL PERFORMANCES CAL PERFORMANCES 35 PROGRAM NOTES PROGRAM NOTES

a brief history of

he precarious conditions of the maintaining the rhythm, adding further to the cafes cantantes (coffee theaters), where refresh- T Andalucian singer of the past made it inevi- syncopation. In some forms, like the cante libre ment could be enjoyed while watching the per- table that he or she should dwell on the more trag- (free song), the compás is less apparent, but the formance. Although some of them survived un- ic aspects of existence. Even though conditions singer may break into an established rhythm, til the middle of the 20th century, their heyday are now incomparably better, the feelings inher- which the guitarist then has to follow. Indeed, was past by the 1920s. Generally they were like ent in the cante (song) are universal, timeless, and the singer is at liberty to improvise, whether the cabaret theaters, with as many as four shows a represent a link between past and present. toque (guitar-playing) is free or in compás, and day. Andalucia, the region of southern , the guitarist may not know beforehand what is Dance has always been associated with which is flamenco’s home, has a strong musi- to be expected of him. flamenco. It is difficult to imagine this music cal tradition documented from ancient times There is no evidence that the guitar was without movement. While sophisticated fla- and flamenco takes its place in that heritage. initially used to accompany the cante, and menco dance companies have been touring the Throughout the centuries, Andalucia absorbed even today some of the most dramatic forms of world for more than 50 years, it is the raw un- peoples of different cultures and backgrounds, cante are invariably performed unaccompanied. choreographed dances of Andalucian Gypsies including Romans, Jews, and Moors. Perhaps However, it was certainly in regular use by the that has maintained the art form in its most the most significant arrival took place in the 15th end of the 19th century in Spain. The lute was creative essence. century, when tribes of nomadic Gypsies settled extremely popular in the rest of Europe during in southern Spain, coinciding with Ferdinand the Renaissance, but was rejected in Spain as and Isabella’s conquest of Granada, the last bas- a foreign intrusion since it was of Arab origin. tion of the Moors, and the subsequent expulsion Furthermore, the vihuela (the guitar’s predeces- of Jews and Arabs from Spain. sor) was more suited to the accompaniment of Historian Felix Grande, writing about life in ballads by strumming, since the lute requires the 15th to 17th centuries states: “The Jews were notes to be picked more delicately. It was also massacred, the Gypsies humiliated and perse- cheaper to produce and more robust. cuted, the Arabs exterminated, the Moriscos In the 19th century, there were two types (converted Arabs) expelled, and the Andalucians of singing in Andalucia: the cante gitano of generally exploited…if we do not relate the mu- the Gypsies and the cante andaluz. Silverio sic…to brutality, repression, hunger, fear, men- Franconetti, an Andaluz of Italian origin and an ace, inferiority, resistance, and secrecy, then we exceptional singer of Gypsy styles, was the first shall not find the reality of cante flamenco…it is to bring these two styles together. This integra- a storm of exasperation and grief.” It was against tion of both forms resulted in the cante flamenco. this background that flamenco evolved. The wail of the cante jondo (deep song) Although earlier records suggest that resembles the mournful chant of the exiled flamenco was at one time unaccompanied, it is Sephardic Jews. Its poetry has the existential- hard for us today to imagine flamenco without ist angst and philosophical questioning com- a guitar. In effect, the guitar forms an integral mon in Arabic poetry. The dance which evolved part of the song; singer and guitarist are one slowly, fully blossoming in the 1840s, suggests creating the cante. The different types of cante the repetitive key symbol prevalent in Islam, the provide the basis for all flamenco guitar-playing. trance inducing rhythms of Africa, and the stub- Most of the cante has an underlying rhythmic born search of Jewish music. structure which must be strictly adhered to: Flamenco developed rapidly, gain- the compás (rhythmic cycle). One of flamenco’s ing in artistic stature as well as popularity. chief characteristics is the complex syncopation Establishments appeared throughout Andalucia against the compás, with the cante being sung and beyond, dedicated wholly to the perfor- almost entirely off the beat and the guitarist mance of flamenco. They came to be known as

36 CAL PERFORMANCES CAL PERFORMANCES 37 ABOUT THE ARTISTS ABOUT THE ARTISTS

All aspects of flamenco—dance, song, and mu- Soledad Barrio (dancer) tablaos of Spain. Rodríguez has performed with sic—are interrelated and given equal weight in founded Noche Flamenca the National Ballet of Spain and has shared the the presentations of Noche Flamenca, creating with her husband, Martin stage with Carmen Ledesma in the National a true communal spirit within the company: the Santangelo, in 1993. With Opera of Tokyo. He has also choreographed for very heart and soul of flamenco. Noche, she has performed Yoko Komatsubara. Mr. Jiménez has toured ex- In support of its mission to educate and for audiences around the tensively as a featured soloist in Italy, Germany, enlighten audiences about flamenco, the com- globe, including perfor- Holland, Brazil, Japan, Mexico, and New York. pany offers extensive residency programs that mances in the United He continues to dance in tablaos in Sevilla and reach out to people of all ages. With company Kingdom, Australia, New Granada. This is his ninth season with members based in Spain, Noche Flamenca is Zealand, Argentina, Brazil, Egypt, Greece, Noche Flamenca. a registered U.S. nonprofit with its office and Italy, Canada, Mexico, and extensively through- representation based in New York City. Noche out the United States. In 2001, she was awarded Born in Cadiz to a family of Flamenca’s artistic integrity has been recognized a New York Dance and Performance Award flamenco singers,Manuel with awards from the National Dance Project (“Bessie”) for Outstanding Creative Gago (singer) began singing (2006, 2009), the National Endowment for the Achievement—the first “Bessie” to be awarded at age five. By age 14, he was Arts (2007, 2008, 2009), and the Lucille Lortel to a flamenco dancer. Ms. Barrio danced her singing in flamenco festi- Award for Special Theatrical Experience (2003), way through her childhood, performing at fies- vals with such well-known among others. tas and celebrations. It was after seeing Antonio singers as Juan Villar, Charo Gades perform that she was inspired to begin Lobato, and Rancapino. her formal dance training in Madrid at age 16. Later, he began singing for the company Her primary and most influential teachers were dancers, including Joaquín Maria Magdalena, El Guito, and Manolete. Cortés, Isabel Bayón, , Rafaela Martín Santangelo (Artistic Ms. Barrio made her professional debut as a Carrasco, Domingo Ortega, Adrian Galia, El Soledad Barrio Director) founded Noche dancer with El Ballet de Paco Romero in 1981 in Guito, Manolete, Javier Barón, and Cristobal Flamenca. He studied fla- El Amor Brujo. She has appeared as soloist with Reyes. Mr. Gago has traveled the world, singing Illustration by Tom Bachtell. menco with Ciro, Paco Manuela Vargas, Blanca del Rey, Luisillo, El in Europe, Asia, South America, and the United Romero, El Guito, Manolete, Guito, Manolete, Cristobal Reyes, El Toleo, States. This is his ninth season with and Alejandro Granados. He Festival Flamenco, and many other companies. Noche Flamenca. nder the direction of Martín has performed throughout She is renowned for her profound Siguiriya and U Santangelo, the award-winning Noche Spain, Japan, and North and Soleá (two essential dances in the flamenco can- Jose Jímenez (singer) was Flamenca has become Spain’s most success- South America, appearing with Maria Benitez’s on), and has been called the “Baryshnikov of born to a Gypsy family in ful touring company. Formed in 1993 by Teatro Flamenco, the Lincoln Center Festival of flamenco.” She lives in Madrid with her hus- Madrid, where he met such Mr. Santangelo and his Bessie Award-winning the Arts, and Paco Romero’s Ballet Español. He band and their two daughters, and performs flamenco stars as Rafael wife, Soledad Barrio, the company regularly also appeared in Julie Taymor’s Juan Darien at regularly around the globe. Farina and Diego el Cigala. tours throughout the globe. Performance high- Lincoln Center. He choreographed and per- At age 14 he began to sing in lights include regular seasons in New York City formed in Eduardo Machado’s Deep Song, di- Antonio Jiménez, a.k.a. “El prestigious tablaos in and performances in Europe, Argentina, Chile, rected by Lynne Taylor-Corbett. He choreo- Chupete” (dancer), was born Madrid, such as Corral de la

Brazil, Egypt, North America, and Australia. graphed a production of Romeo and Juliet at the in 1974 in Osuna and began Rummelhof Tim Morería, Café de Chinitas, Hailed by critics everywhere for its tran- Denver Theater Center. He has directed and dancing in the flamenco fes- Torres Bermejas, Casa Patas, and Las scendent and deeply emotional performances, choreographed Bodas de Sangre, The Lower tivals, fairs, and peñas of Carboneras. He later began to work with a wide Noche Flamenca is recognized as the most au- Depths, La Celestina, and A Streetcar Named Andalucía at an early age. range of flamenco dance companies touring thentic flamenco touring company in the field Desire, among many other productions in Spain His dance training was not Europe and the Middle East. He has performed today. Mr. Santangelo has successfully brought and Buenos Aires. He has collaborated with obtained in school but with Manolete, Cristina Hoyos, Belén Maya, to the stage the essence, purity, and integrity of many artists, but his most fulfilling collabora- alongside the professional Rafaela Carrasco, Javier Barón, Joaquín Cortés, one of the world’s most complex and mysterious tion has been with his wife, Soledad Barrio, and singers and dancers that Antonio Canales, Manuela Carrasco, Eva la art forms without the use of tricks or gimmicks. his two wild daughters, Gabriela and Stella. served as his guide. He de- Yerbabuena, Antonio y Manuel Reyes, José buted professionally in El Cordobés de Maya, Alfonso Losa, Rocio Molina, Farruquito, , considered one of the finest flamenco and Isabel Bayón.

38 39 CAL PERFORMANCES CAL PERFORMANCES ABOUT THE ARTISTS ABOUT THE ARTISTS

Salva de María (guitarist) Born in Buenos Aires and Flamencos, where she performed in San Mariola Rodríguez Fernández (Company was born in Madrid. He is now based in New York Francisco’s premier venues and with such artists Manager) was born in and has always ben the son of Basilio de Cadiz City, Sol La Argentinita as Andrés Peña and Miguel Rosendo. She gradu- a lover of dance. Her professional involvement and the singer-dancer Maria (dancer) performs and ated from Stanford University in 2008 with a started with the Ballhaus Naunynstrasse the- Fernandez and grandson of tours with numerous fla- B.A. degree in film and Spanish. ater in Berlin. She has been working for Noche legendary singer Antonio “La menco dance companies, Flamenca for two years and is happy to be in- Chaqueta.” He began his ca- and has been performing volved in this passionate adventure of flamenco. reer in the peña flamenca with the Metropolitan staff To date, she had worked with different contem- Chaqueton accompanying Opera for the past two sea- porary dance companies, other flamenco com- singers Carmen Linares, José sons in Zeferelli’s produc- S. Benjamin Farrar (Lighting Designer) is panies in Spain, and the production company Merce, Vicente Soto, La Chaqueton, and others. tion of La Traviata and the Town Hall for the lighting and scenic designer based in Carlisle, 8co80 Gestión Cultural in Seville, in roles rang- He moved to Barcelona to work with Maite World Music Institute’s 20th anniversary cele- Pennsylvania. He is the resident designer and ing from general management to stage manager. Martin, La Chana, Guinesa Ortega, and other bration. From summer 2008 through winter professor of design for Dickinson College. Over legendary figures of flamenco. He went on to 2009, she danced with the internationally re- the last five years, he has also designed and assist- work with Carmen Cortés and Gerardo Nuñez nowned company Soledad Barrio and Noche ed at the Public Theater, Playwright’s Horizons, acknowledgments in Lorca’s play Yerma. Since 2001, he has col- Flamenca in numerous tours and productions, the Impact Theatre, and the American Airlines laborated with guitarist , and worked sharing the stage with figures such as Ms. Barrio, Theatre in New York, as well as La Jolla Playhouse Noche Flamenca thanks its funders: The National with such artists as , La Susi, Alejandro Granados, and Alfonso Loza. Ms. La in California, the Alley Theatre in Texas, and Endowment for the Arts, the NDP of New Maite Martín, Chano Lobato, Israel Galván, Argentinita is a two-time recipient of the the Long Wharf Theatre in Connecticut. He England Foundation for the Arts, The Harkness Isabel Bayón, Javier Latorre, and . Cristina Heeren Foundation scholarship, as well would like to thank his partner-in-crime, Jody Foundation for Dance, The DuBose and Dorothy This is Mr. de María’s fifth season with Noche. as a recipient of the Jerome Foundation’s Travel Caldwell, and his new baby, Theodora Soledad, Heyward Memorial Fund, The Fan Fox and Leslie and Study Grant and the school at Jacob’s for their support and patience while he wanders R. Samuels Foundation, NYSCA, Gladys Kreible Eugenio Iglesias (guitarist) Pillow. Her solo piece Soleá, in which she ex- about with the flamencos. This is Mr. Farrar’s Delmas Foundation, Ambrose Monell Foundation, began playing professionally plored the more sensual and elegant side of fla- fourth year with Noche Flamenca. Barbara and Donald Tober Foundation, and at a very young age where he menco and showed her mastery of the art, re- The Rosenblatt Foundation. Special thanks to: worked in all the important ceived critical acclaim by TheatreOnline.com As one of the first presenters to invite Noche Wendy Vanden Heuvel, Etta Brandman, Aurora tablaos in Sevilla. He then and The New York Times. Ms. La Argentinita Flamenca to perform at his former venue, Santangelo, Frances McDormand and Joel Cohen, began touring with various teaches classes for children and adults in New Queens Theatre in the Park, Jeff Rosenstock Annatina Miescher, Barbara and Donald Tober, companies and has accompa- York City, including residencies with Alvin (Booking Manager) has remained an avid Noche Eric Cocco, Shanta Thake, The Joyce Theater, and nied many dancers such as Ailey and Young Audiences. Flamenca fan throughout the years. Now, he is Joe’s Pub at the Public Theater in New York. Antonio Canales, Farruco, thrilled by Mr. Santangelo’s invitation to play Farruquito, El Guito, La Toná, Javier Barón, Marina Elana (dancer) She a role in the company’s future development as Sara Varas, Manuela Carrasco, Israel Galván, began her studies in Spanish their in-house booking manager. He looks for- Mario Maya, Angelita Vargas, and Alejandro classical dance and flamenco ward to working with presenters throughout Granados. He has also accompanied many of with Adela Clara and contin- the country and abroad and developing spe- the greatest flamenco singers in Spain, including ued her training with La cific programs and residencies which will al- Lole Montoya, La Negra, Chiquetete, La Susi, Mónica and Yaelisa in the San low their constituents to embrace the work of Carmen Montoya, Juan Villar, and El Potito. Francisco Bay Area. In Spain, she studied in Noche Flamenca. Mr. Rosenstock also serves as He is currently working on his own flamenco Sevilla and Madrid with such artists as Juana the AVP of External Affairs at Queens College show as composer and songwriter. This is his Amaya, Yolanda Heredia, and Rafaela Carrasco. in New York City, and oversees the Kupferberg seventh season with Noche Flamenca. Ms. Elana made her performance debut with Center for the Visual and Performing Arts, the Theatre Flamenco of San Francisco, sharing the Borough’s largest cultural campus. stage with Pastora Galván and Jose Anillo. In 2007, she appeared with María Benítez’s Teatro Flamenco in Santa Fe, New Mexico. Ms. Elana was a soloist and company member of Caminos

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