Jazzing Flamenco programme
Inspiration and innovation. Flair and fervour. Heart and soul. Duende. These are just a few words which describe “Jazzing Flamenco,” the latest production of the Madrid dance company Compañia Antonio Najarro which inaugurated the 30th edition of the Festival International de Jazz de Montréal. I, along with my friend, had the chance to catch the splendid spectacle on opening night of the eleven-performance run at the Théâtre du Nouveau Monde. Created and directed by the talented and prominent Spanish dancer and choreographer Antonio Najarro, the œuvre manages to fuse felicitously and successfully two powerfully expressive cultures, the magic and prowess of flamenco and the fluidity and elegance of jazz, an audacious mix of Spanish classical dance, Spanish folklore, contemporary dance, modern flamenco, and Latin jazz, creating an eclectic yet synthesized style that is unique and original in the current dance scene. Hybridization of dance styles is no stranger to the dance company’s artistic director Najarro, who introduced the world his groundbreaking creation of the international smash hit “Tango Flamenco,” which blends new age flamenco, Spanish classical dance, and Argentine tango, and subsequently “FlamencOriental,” which melds the alluring beauty of Spanish classical dance and modern-style flamenco with the intriguing exoticism of dance and music from the Middle East.
“Jazzing Flamenco,” structured as a sophisticated programme of eight dance tableaux with two interpolated musical interludes, recounts about the night and its music in a setting akin to the ambiance of an elegant night club. Similar to Najarro’s previous two productions, various elements are interwoven deftly into the compositional design of the show. With Najarro’s exceptionally artistic vision, each detail—from music to choreography, from costumes to lighting and props (including the use of a silver scrim)—has been thought out meticulously and conscientiously, creating a work that is expressively powerful and theatrically absorbing.
The music component, as in all of the company’s works, is placed on an equal footing with the dance element, and the musical composition and the dance choreography complement each other in perfect harmony. Created by the Argentine composer, arranger, and guitarist Fernando Egozcue, who has collaborated with Najarro in his previous productions, the music score incorporates a combination of jazz, blues, and soul music with flamenco, with a tendency towards the pop side of the music spectrum, and provides the inspiration for the passionate, intricate, and innovative choreography interpreted exquisitely and delivered flawlessly by the cast of eleven dancers and the leading dancer, Najarro himself. Moreover, the talented group of instrumentalists, pianist Ana Constanza Lechner, violinist Thomas Potiron, percussionist Martin Bruhn, double bassist Nicolás Quintela, and the music director Egozcue on guitar, share the stage with the dancers, and the musicians’ presence on stage provides an added dynamic dimension to the enthralling spectacle. The instrumental interludes alone, particularly “In the Night,” with its tight ensemble work, demanding virtuosic playing, and exhilarating musicality, demonstrate the high calibre of the instrumentalists’ performance.
And the costumes, which are treated with equal importance in Najarro’s productions, are tastefully designed by the dance company’s versatile artistic director, who truly has an eye for fashion, and sewn, in part, by Najarro’s mother, Rosalia, a talented seamstress, who was responsible for the wardrobe production in all three of her son’s works.
The glamorous costumes, which complement the visual and musical presentation of each tableau, intensify the expression and movement of dance and help capture the essence of the work. In the opening number titled “Improv,” the entire dance cast performs a regal, dramatic yet graceful number, and the dancers are dressed very stylishly— women in white, long and flowing dresses with thin straps and handkerchief overlays of black lace and men in fashion-forward ensembles of black pants, grey garment sashes, and white, crossover and draped shirts with asymmetrical hem. The classic colours of black and white reappear in the intense and passionate dance routine “Ambigüedad.” Individually styled, the trio’s dress attire, composed of white trouser-like outfits combined with overlays of black lace, conveys the androgynous idea suggested in the dance movement title. In Najarro’s riveting solo dance “Buddy Bolden,” which is choreographed by his friend Rubén Olmo, the soloist’s black sequin-adorned garb offset by a splash of white from his necktie reinforces the flamboyant ambiance and nocturnal setting of the overall work.
In two of the other dance tableaux, the colour associated with fire and passion reigns. “Ragtime,” performed by a group of five male dancers in scarlet red shirts and dark beige pants, is a lively, rhythmic dance sequence that is heavily marked with machismo and vigour and strongly punctuated with zapateados and palmas. In addition to the rhythmic feet stomping and hand clapping, the dancers make playful and jazzy use of their suspenders in the tight, vivacious choreography. Five pairs of dancers return in “Aljiba,” here appearing in yet another attire: women in bright red, mid-length sleeved dresses with layered ruffles and men in elegant outfits of black jackets, pants, and shirts which are sharply coordinated with red vests. Full of Spanish flair and flavour, the number, which is also choreographed by the guest artist Olmo, includes the employment of chairs which is threaded into the narrative fabric of this fiery dance piece.
The use of other props is well incorporated into the choreography of the other dance sections. In “Rhapsody in Blue,” singer Aeris Sanz makes her first of two appearances on stage and, along with the instrumental musicians, accompanies the ensemble of six female dancers. Clothed in one-shouldered long frocks of turquoise blue, the dancers perform expressively with black fans bearing a peacock motif which is also featured in the singer’s top and skirt set. Very fittingly, Sanz interacts with the dancers and becomes integrated into the choreography of this number. Memorably breathtaking, the pièce de résistance “Ser” is absolutely spellbinding. Theatrics open the sequence as the soloist Estíbaliz Barroso, dressed in a voluminous, medium taupe trail dress and fur pashmina wrap, appears seated on a bench and dramatically pulls three feathers, one at a time, from her hair. Then her dance ensues, showcasing her impeccable dance technique and spectacular mastery of castanet playing—flawless rhythmic executions and beautiful, eloquent phrasings, especially at moments when she embellishes rhythmically the lyrical melody of the dance song. In this powerful and passionate segment, her musicality and sensitivity as a dancer and musician shine brilliantly. But it is the final dance movement “Jazzing” which features the return of the entire cast that sets the stage on fire. Men now in grey vests and pants and women in pink sleeveless dresses dance with castanets at a blazing pace. Electrifying and exciting, this grandiose number, which cleverly employs benches in the routine, is a dazzling display of dancing and choreographic virtuosity.
Extremely well-rehearsed and remarkably polished, the dance company performed compellingly, and there were no weak links here. The cast makes dance look so effortless: regal carriage, expressive movements, beautiful lifts, big leaps and jumps, fluid lines, extensions and marked back bends, well-controlled pirouettes and agile footwork executed with extraordinary precision, remarkable coordination of dance with castanet playing, emotional depth and spontaneity, and dynamic intensity. And the musicians perform with as much accuracy, energy, and rhythmic and emotional drive. The audience enjoyed the performance so much that the entire house gave the company members a lengthy standing ovation, to which the artists responded with a repeat performance of the closing excerpt from the finale.
Beautifully and compactly designed and structured, “Jazzing Flamenco” modernizes and redefines Spanish dance, a tour de force to be reckoned with. A stunning and captivating performance, and a work that will give you lots to think and talk about.
