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PRESS QUOTES

“In the

production I saw at the Lortel, Barrio was the only female dancer in the troupe. Well, what woman could hold a candle to her? In modern dance, Isadora Duncan and Martha Graham. In ballet, maybe Nora Kaye, in her Tudor roles. Certainly no one we can go and see today has Barrio's transformative power.” – The Arts Journal

168 W 86 Street #9A New York, NY 10024 [email protected]

“New York is blessed in that one first-rate flamenco troupe, Noche Flamenca, keeps returning each year. There has been no company I have been so glad to discover as Noche Flamenca and, above all, its lead dancer, Soledad Barrio. I can think of no current ballet star in the world as marvelous as she.” – Alastair Macaulay, The New York Times

“Noche Flamenca... you know you have to see it because it is famous, but you have no idea how transporting it will be until you arrive.” – The Berkshire Review for the Arts

“For 90 minutes, Le Petit Theatre rang with Spanish song and clattering heels. To me, though, it seemed more like a Pentecostal church at full throttle or that wild, tumbling spot, just behind the band, when you fall in with a second line parade. I'm talking about those rare moments when the line between audience and performer dissolves, and it's made clear that all of us are participants in the same scary, ecstatic trip from birth to death. That's precisely the experience conjured by Noche Flamenca.” – Chris Waddington, The Times-Picayune (New Orleans)

“Unlike most women flamenco dancers, (Soledad Barrio) is sturdy rather than svelte, handsome rather than beautiful, earthy rather than elegant; and her dancing evokes an entire vocabulary of fire: blazing, scorching, flaming, smoldering, incandescent.”– Alan Helms, ballet.co, (England)

“The best flamenco company I have seen in my life. Soledad Barrio is a gift from heaven to flamenco on earth.” – El Diario (Buenos Aires, Argentina)

"Artistic director Martin Santangelo ensures the focus is always on the art of flamenco. Singer, guitarist, dancer are presented as equal participants, absorbing one another's energy and throwing it back with passionate intensity... It is a privilege to witness these artists, as they challenge us with their defiant stares and yet invite us in to share their joy, their grief, their anger, their despair... It is to this company's great credit that its performers can create music and movement of such beauty while simultaneously embracing the darkness from which this art form emerged." – The Age (Melbourne, Australia)

“This is dramatic dance stripped to its bare bones, and thus able to show its movements, its words and its staging through an almost unfiltered lens… All of the dancers in Noche Flamenca demonstrate enough emotion and kinetic energy to earn this introspection. They beg you to look closer, to feel what they are experiencing, to welcome their boiling movements during this chilly month of January. Soledad Barrio and Noche Flamenca are mysterious life personified through the body, the voice and, perhaps most importantly and most resonantly, the soul.” – Robert Johnson, The Leader (New Jersey)

“A Soul-Stirring Tour-de-Force of Theater” – The New York Times

“Okay, wimpish camp followers of Michael Flatley, Riverdancers and outmoded Bob Fosse, it's time to quit. Flamenco is back, and it's extraordinary just how potent is the explosive, deceptively simple mix of handclaps, foot stomps, dance posturing, shouts of encouragement and the Noche Flamenca PRESS QUOTES (continued) gargling wails of singers... Noche Flamenca… stormed Massey Hall last night, proving that raw, core


flamenco minus the visual extravagances you expect in some Latin resorts is a stirring experience. In less than two hours this group of seven showed that this ancient art form, its origins buried in the Iberian peninsula's foggy past where cultures blended together, retains the power to thrill.” – The Toronto Star

“Soledad Barrio, one of the most thrilling dancers in the world, now towers over the name of the company. With good reason. Barrio is simply more intent than even the most acute dancers. Onstage, she becomes a person who takes everything seriously and personally, beginning with the assumption that life is tragic.” – The Arts Journal

"Internationally recognized as one of Spain's most respected troupes…This is Flamenco in its pure essence!" – The Boston Globe

“Martin Santangelo never compromises the integrity of flamenco by pandering to commercialism. He seems to be on a mission to teach the U.S. – and the rest of the world – to understand and respect the three elements of flamenco--cante, toque, and baile--equally, by consistently presenting the best examples of each. The successful sold-out appearances of Noche Flamenca prove that well-presented, unadulterated flamenco can move, inspire and entertain audiences from all cultures.” – The Dance Insider

“Noche Flamenca aims high. They are a noble, elegant group.” – Al-Ahram Weekly (Cairo, Egypt)

“A concert by Noche Flamenca is a group effort. Like really good jazz, it is fueled by an interplay of spontaneous invention in which all the players contribute, and the communal spirit that bonds this troupe of three dancers, two guitarists, and two singers is palpable. Performances seem less like staged contrivances than intimate parties to which we've graciously been invited.”– The Boston Globe

“Soledad Barrio’s métier is flamenco, and as the star of the Madrid-based troupe Noche Flamenca, she can make a believer out of the most jaded spectator. If you assume that flamenco is all phony histrionics, you’ve probably never seen Ms. Barrio in action. Her performances start with a quiet, silky grace, but by the end she is more creature than human.”– Gia Kourlas, The New York Times

“The walls, remarkably, did not burst into flame...during the performance by Noche Flamenca, a sensational company from Madrid capable of incinerating all objects in its path. This Bay Area debut engagement adds up to something of a miracle, the answer to the question of where the excitement, the grit, the lacerating intimacy and the professionalism went in Spanish dance. ... Barrio remains the company’s assoluta, an embodiment of the fierce charisma that belongs to the greatest flamenco artists. Her arms curve like ancient tree branches; her back melts into that sinuous posture, which only Spanish dancers can master. Her trajectory is grave; her feet seem to carve patterns in the stage. She seems possessed.” – The San Francisco Examiner

“It's that good… Noche Flamenca has always stood out among flamenco companies because of its emphasis on vocal and instrumental music of an unusually high caliber, which never serves as mere accompaniment for the dancing… This show is exciting,


moving, playful and one of the best introductions one could have to the art of flamenco. See it.” – Nancy Keller, The Philadelphia Inquirer

"There may have been a chill in the air outside, but McFarlin Auditorium was practically scorching, thanks to the impassioned performance from Madrid's Noche Flamenca. Powerfully raw in its sensuality, the company further elevated the art form of flamenco by distilling the movement, eliminating any ornamental elements to render the dancing spellbindingly visceral." – The Dallas Morning News

“Noche Flamenca, a Spanish dance company based in Madrid and currently lodged for two weeks at Zellerbach Playhouse, the University of California, Berkeley, amazes through its lack of pretense and glamour. The absence of those qualities is one of the troupe’s two greatest strength. The heat radiating off the stage is the other.” – Allan Ulrich, The Voice of Dance (San Francisco)

“Soledad Barrio is one of those rare gems in the performing arts …a monumental and unforgettable dancer. See her if you can.” – El Clarin (Buenos Aires, Argentina)

“A troupe from Madrid called Noche Flamenca turned the Zellerbach Playhouse into an intimate Spanish cabaret, with a show that was not always elegant but was never less than fascinating. And whenever an extraordinary creature called Soledad Barrio took the stage, Noche Flamenca reflected nothing less than the Spanish soul itself.” – Octavio Roca, The San Francisco Chronicle

“As a season progresses, they too progress, with a freedom from text that resembles and probably surpasses that of jazz. You would have to attend every night to know just how much they rely on improvisation.” – Alastair Macaulay, The New York Times

“...Noche Flamenca made its local debut...and made such a visceral impression. ... What the company captures so skillfully is the truth of flamenco, its defiance against the world, its emotional tempests, its fierce humanity. There is no weak link. The singers are uniformly excellent, at once raw and undiluted. Nothing pretty here. The singing is strident, passionate, moving. ... The men in Noche Flamenca are splendid...Bruno Argento...is the dazzler. He is a virtuosic dancer with a formidable array of movement at his disposal. He captivates us and beguiles du with his bravura and the range of his talent. ... Noe Barroso is...all fabulous attitude with which flamenco dancers often excel. He doesn’t seem to do much, but what he does, he does with extraordinary command. Barrio...sums up the earthy part of flamenco, its temperament and presence.” – The Seattle Post-Intelligencer

“The musicians, singers, dancers and hand clappers of Noche Flamenca are some of the best in the business—a Spanish export that plays all over the world to rapturous applause. So too their leading lady Soledad Barrio—a stunning performer born to dance flamenco.” – The Scotsman (Edinburgh)

“The spirit of Flamenco burst to vivid life this past weekend at Joe's Pub! On the pub's postagestamp stage, artistic director Martin Santangelo concocted a sizzling show with two guitars, two voices, and two pairs of flaming feet that enraptured audiences twice a night with their impassioned Iberian soul. The sensational small-scale performance in the dimly lit, crowded pub… feels truer in atmosphere to the roots of the ancient


Spanish form of music and dance than the splashy spectacles seen at City Center the previous weekend.” – Dance Insider

“With strong steps, Soledad keeps her audience in suspense… seized by a fervor, she bewitches as only a true artist can.” – La Nacion (Buenos Aires, Argentina)

"Noche Flamenca, the Madrid-based company of dancers, singers and guitarists, unfurled a program with the fully felt emotional expression of the soul that pure flamenco demands of its practitioners… Powerfully athletic, Soledad Barrio burst forth with a chain reaction of staccato footwork and pumping knees, whipping her head as hairpins flew. Not to join her in this captivating journey would be to lose a chance at love, both its ecstasy and its agony." – The Washington Post

“. . .it's good to get back to flamenco's basics, to refresh the eye and ear with the real thing without the trimmings. Not that Martin Santangelo's Noche Flamenca feels in any way lacking. Instead, it's boiled down to an almost fearful intensity. They're becoming a regular, much anticipated event here as the companies of Mark Morris and Bill T. Jones have long been—and for some of the same reasons. They do dance, not decor, they do it excellently and they marry movement and music to the point where they're one." – The Boston Globe

“The is one of those rare productions that you should not miss…there is no wonder that Noche Flamenca is considered one Spain’s most successful flamenco companies!” – Stage Publications (Sydney, Australia)

“Soledad Barrio is a gift to flamenco and the troupe a testament to the art’s underlying relevance.” – Dance Magazine


RECENT TOURING DATES

Upcoming Dates

2013/2014December 2-15 The Joyce Theater New York, NY

2012/2013September 18-30 The Joyce Theater New York, NYOctober 3 Northrop Minneapolis, MNJanuary 13 UA presents Tucson, AZJanuary, 19 Le Cabret Du Mile End Montreal, QCJanuary 18&19 Royal Conservatory Toronto, ONJanuary 22 State Theater of NJ NewBrunswick, NJJanuary 26 Penn State State College, PAJanuary 30 Harrisburg Comm College Harrisburg, PAFebruary 1 Bucknell Univ Lewisburg, PAFebruary 2 Lafayette College Easton, PAFebruary 5-6 Teatro el Campesino San Juan Bautista,CAFebruary 8 Cal Performances Berkeley, CAFebruary 10 Irvine Barclay Irvine, CA

2011/2012 Tour DatesSept 27-Oct 2 The Joyce Theater New York, NYOctober 2 Teatro La Nacional San Jose, Costa RicaNovember 11 University of Alabama Birmingham, ALDec 31-Jan 6 Joe’s Pub New York, NYJanuary 12-14 White Bird Portland, ORJanuary 16 & 17 Teatro el Campesino Juan Bautista, CAJanuary 19&20 Mondavi Center Davis, CAJanuary 21 Chan Center Vancouver, BCJanuary 23 Dickinson College Carlisle, PAJanuary 27 Longwood Gardens Kennet Square, PAJanuary 28 McCarter Theater Princeton, NJMay 16-20 Teatro Avenida Buenos Aires, ArgentinaMay 26 & 27 Mahaiwe Theater Great Barrington, MAJune 17 Grutli Theatre Geneva, Swiss

2010/2011 Tour DatesOctober 21, 2010 CSU Monterey Monterey, CAOctober 23 Rialto Center f/t Perf Arts Atlanta, GAOctober 29 Swarthmore College Swarthmore, PADec 2- Jan 12, 2011 Cherry Lane Theatre New York, NYJanuary 14-15 Duncan Theater Palm Beach, FLJanuary 17 U of HI, Hilo Theater Hilo, HIJanuary 18 Kahilu Theater Kamuela, HIJanuary 21 Leeward Comm College Pearl City, HIJanuary 22 Maui Arts & Culture Maui, HIJanuary 26 Perf Arts Society Acadiana Lafayette, LA


January 28 UA Presents Tucson, ARApril 29 Kingsborough Comm College Brooklyn, NYMay 1 Mahaiwe Theater Great Barrington, MAMay 5 Sangre de Cristo Arts Center Pueblo, COMay 6 Newman Center f/t Arts Denver, COMay 8 Helena Presents Helena, MTMay 11 U of TX, Brownsville Brownsville, TXMay 14-15 Queens Theater in the Park Queens, NYMay 16 Palais MontCalm Quebec City. CanadaMay 17 Le National Montreal, Canada

2009/2010 Tour DatesNovember 12, 2009 University of Florida Gainesville, FLNovember 14 Lied Center of Kansas Lawrence, KSNovember 18 State Theater of New Jersey New Brunswick, NJNovember 20 University of North Carolina Chapel Hill, NCDecember 22- January 17, 2010 Lucille Lortel Theater New York, NYJanuary 22-23 Kimmel Center/ Merriam Theater Philadelphia, PAJanuary 30-31 The Royal Conservatory-Toronto Toronto, OntarioFebruary 5 Crash Arts Boston, MAMay 20 Dublin International Dance FestDublin, IrelandMay 21 Hall for Cornwall Cornwall, UK

2008/2009 Tour DatesNovember 7, 2008 Quick Center f/t Arts Fairfield, CTNovember 8 Fitchburg State College Fitchburg, MA December 26-31 Joe’s Pub New York, NYJanuary 10, 2009 Joe’s Pub New York, NYJanuary 13 Fox Cities PAC Appleton, WI January 16-17 Dartmouth College Hanover, NH January 21 Humboldt State University Arcata, CA January 23-24 Cal Performances Berkeley, CA February 6 The Vancouver Playhouse Vancouver, BC February 7 Victoria University Victoria, BC February 8 Edmonton Concert Hall Edmonton, AB February 10 The Tower Theatre Bend, OR

2008/2009 ContinuedFebruary 13 Flynn Center for the Arts Burlington, VT February 14-15 Emerson Majestic Boston, MA February 17-18 Seven Days of Open Nights Tallahassee, FL April 24-26; April 30-May 3 The New Victory Theater New York, NYJune 3-6 Spoleto Festival Charleston, SCJune 16-20 Her Majesty’s Theatre Adelaide, AustraliaJune 23-27 Sydney Theatre at Walsh Bay Sydney, AustraliaJune 30 Frankston Arts Centre Frankston, AustraliaJuly 1 Geelong Performing Arts Centre Geelong, AustraliaJuly 3 Canberra Theatre Canberra, AustraliaJuly 4 Gold Coast Arts Centre Gold Coast, AustraliaJuly 7-9 the Arts Centre, Playhouse Melbourne, AustraliaJuly 16-18 Perth Concert Hall Perth, Australia


2007/2008 Tour DatesAugust 20-September 2, 2007 Teatro Avenida Buenos Aires, ArgentinaSeptember 29 Connecticut College New London, CTOctober 3 UMass Amherst Amherst, MAOctober 4 Fall for Dance (City Center) New York, NYOctober 6 College of the Canyons Santa Clarita, CAOctober 10&11 Le Lycee Francais Los Angeles, CAOctober 12 Napa Valley Opera House Napa, CAOctober 14 Gallo Center f/t Arts Modesto, CAOctober 17 Stanford Lively Arts Stanford, CADecember 28-31 Joe’s Pub New York, NYFebruary 15&16, 2008 Emerson Theatre Boston, MAFebruary 19 Palais Montcalm Quebec City, PQFebruary 21&22 Club Soda Montreal, PQFebruary 24 Capital Theater Columbus, OHFebruary 27 Cleveland Playhouse Cleveland, OHFebruary 29 Purdue Univ West Lafayette, INMarch 1 McAninch Arts Center Glen Ellyn, ILMarch 7 Music Hall Detroit, MIMarch 9 Williams College Williamstown, MAMarch 14 KY Ctr f/t Arts Louisville, KYMarch 15 RialtoTheater Atlanta, GAMarch 18 Tampa Bay PAC Tampa, FLMarch 20 Cal Poly Arts San Luis Obispo, CAMarch 21 Cerritos Center Cerritos, CAMay 17&18 Virginia Arts Festival Norfolk, VAJuly 10- August 14 Theater 80 New York, NYJuly 29 Wolf Trap Festival Vienna, VAAugust 4 Vail Intl Dance Festival Vail, COAugust 7 Lincoln Center Out of Doors New York, NYAugust 17-24 Assembly @ Queen’s Hall Edinburgh, Scotland

2006/2007 Tour DatesJuly 5, 2006 Ann Arbor Summer Festival Ann Arbor, MIJuly 7 Central Park Summerstage New York, NYJune 7-July 30 Theater 80 New York, NYJuly 9&10 One World Theatre Austin, TXJuly 13 Britt Festival Medford, ORJuly 20-22 American Dance Festival Durham, NCJuly 25 Wolf Trap Vienna, VAJuly 26 Queens Theatre in the Park Queens, NYAugust 3-13 El Teatro Avenida Buenos Aires, ArgentinaNovember 14 McCarter Theater Princeton, NJNovember 16-18 Meany Hall Seattle, WANovember 21-27 Orange County Performing Arts Center Costa Mesa, CANovember 29 UC Riverside Riverside, CADecember 1&2 New Orleans Ballet Association New Orleans, LAMarch 2&3, 2007 Scottsdale Center for the Arts Scottsdale, AZMarch 8 University of Wisconsin Madison, WIMarch 9&10 TITAS/McFarlin Auditorium Dallas, TXMarch 20&21 Modlin Center for the Performing Arts Richmond, VAMarch 23 Savannah Festival Savannah, GA


March 25 Florida Cultural Endeavors Daytona Beach, FLMarch 28 Massey Hall Toronto, ON

2005/2006 Tour DatesNovember 12, 2005 Rialto Center for the Performing Arts Atlanta, GA November 18-20 Dance St. Louis, Edison Theater St. Louis, MO November 2-December 4 Kola Note Montreal, PQ, CanadaJanuary 26-27, 2006 World Music, Emerson Majestic Boston, MAJanuary 29 Kean College/Teatro Si Union, NJFebruary 1-4 Booth Theater Charlotte, NCFebruary 10 Boettcher Concert Hall Denver, COFebruary 11-12 Department of Cultural Affairs, Links Hall Chicago, ILFebruary 16-17 Rio Theater/UC Santa Cruz Santa Cruz, CAFebruary 18-19 Zellerbach Hall Berkeley, CAMarch 8-12 Joe's Pub, Public Theater New York, NY

2004/2005 Tour DatesFebruary 11&12, 2005 TITAS/McFarlin Auditorium Dallas, TXFebruary 14 Kravis Center for the Performing Arts West Palm, FLFebruary 17 University of North Florida Jacksonville, FLFebruary 19&20 Tampa Bay PAC Tampa Bay, FLFebruary 25&26 The Kimmel Center Philadelphia, PAMarch 4 Cerritos Center f/t Performing Arts Cerritos, CAMay 5-June 5 Theater 80 New York, NYMay 15 Virginia Arts Festival Norfolk, VA


ABOUT FLAMENCO

The precarious conditions of the Andalucian singer of the past made it inevitable that he/she should dwell on the more tragic aspects of existence. Even though conditions are now incomparably better, the feelings inherent in the cante are universal and timeless and represent a link between past and present.

Andalucia, the region of southern Spain which is flamenco's home, has a strong musical tradition documented from ancient times and flamenco certainly takes its place in that heritage. Throughout the centuries, Andalucia absorbed peoples of different cultures and backgrounds, including Romans, Jews, and Moors. As far as flamenco is concerned, the most significant arrival was in the 15th century when tribes of nomadic Gypsies settled in southern Spain. Their arrival coincided with Ferdinand and Isabella's conquest of Granada, the last bastian of the Moors, and the subsequent expulsion of Jews and Arabs from Spain.

Historian Felix Grande, writing about life in the 15th, 16th and 17th centuries stated: "The Jews were massacred, the Gypsies humiliated and persecuted, the Arabs exterminated, the Moriscos (converted Arabs) expelled, and the Andalucians generally exploited...if we do not relate the music...to brutality, repression, hunger, fear, menace, inferiority, resistance, and secrecy, then we shall not find the reality of cante flamenco...it is a storm of exasperation and grief." It was against this background that flamenco evolved.

While earlier records suggest that flamenco was at one time unaccompanied, it is hard for us today to imagine flamenco without a guitar. In effect, the guitar forms an integral part of the song; singer and guitarist are one creating the cante. The different types of cante provide the basis for all flamenco guitar playing. Most of the cante has an underlying rhythmic structure which must be strictly adhered to-the compas. One of flamenco's chief characteristics is the complex syncopation against the compas, with the cante being sung almost entirely off the beat and the guitarist maintaining the rhythm, adding further to the syncopation. In some forms, like the cante libre (free song), the compas is less apparent, but the singer may break into an established rhythm which the guitarist then has to follow. Indeed, the singer is at liberty to improvise, whether the toque (guitar playing) is free or in compas, and the guitarist may not know beforehand what is to be expected of him.

There is no evidence that the guitar was initially used to accompany the cante, and even today some of the most dramatic forms of cante are invariably performed unaccompanied. However, it was certainly in regular use by the end of the 19th century and the guitar has an exceptionally long history in Spain, an early version probably being brought by the Romans. The lute was extremely popular in the rest of Europe during the Renaissance, but was rejected in Spain as a foreign intrusion since it was of Arab origin. Furthermore, the vihuela (the guitar's predecessor) was more suited to the accompaniment of ballads by strumming, since the lute requires notes to be picked more delicately. It was also cheaper to produce and more robust.

In the 19th century, there were two types of singing in Andalucia-the cante gitano of the Gypsies and the cante andaluz. Silverio Franconetti, an Andaluz of Italian origin and an


exceptional singer of Gypsy styles, was the first to bring these two styles together. This integration of both forms resulted in the cante flamenco as it has come to us-the end product being without question greater than the sum of its parts.

The wail of the cante jondo (deep song) resembles the mournful chant of the exiled Sephardic Jews. Its poetry has the existentialist angst and philosophical questioning common in Arabic poetry. The dance which evolved slowly, fully blossoming in the 1840's suggests the repetitive key symbol prevalent in Islam, the trance inducing rhythms of Africa, and the stubborn search of Jewish music.

Flamenco developed rapidly, gaining in artistic stature as well as popularity. Establishments appeared throughout Andalucia and beyond, dedicated wholly to the performance of flamenco. They came to be known as cafes cantantes, coffee theatres, where refreshment could be enjoyed while watching the performance. Although some of them survived until the middle of the 20th century, their heyday was past by the 1920's. Generally they were like cabaret theaters, with as many as four shows a day.

Dance has always been associated with flamenco. It is difficult to imagine this music without movement. While sophisticated flamenco dance companies have been touring the world for more than 50 years, it is the raw unchoreographed dances of Andalucian Gypsies that has maintained the art form in its most creative essence.

AlegriasA lively dance from Cadiz. The origin is in the jotas of Cadiz–traditional folk music of Aragon, brought to the Andalucian town by soldiers during the War of Independence in the early 19th century. The main characteristics of this style are the richness of its guitar accompaniment, the intricacy of the dancing, the demands of its difficult rhythm, and its lively sound.

BuleriasThis developed like soleares from a simply style. However, unlike soleares, it has a fast and lively rhythm–indeed, the fastest in all flamenco–and it provides enormous scope from improvisation on the part of dancers, singers, and guitarists. It is wild, frenzied, and lively, but nevertheless contains the germ of sorrow that is almost always present in flamenco.

CantinasA distant cousin of the Alegrias but the tonalities are very different and the lyrics are much bouncier and compact.

SeguiriyasAnother name for seguiriyas used to be playeras–from placidera, meaning, "hired mourner." The fact that the words often allude to death suggests that its origin may have been in the primitive wails for the dead. Indeed, the guitar accompaniment evokes the sound of bells tolling.

SolearesOne of the basic cantes. One can say that the soleares is the perfect form of cante Flamenco, where beauty and depth of feeling are in harmony. Its rhythm (12 beats to the


bar) has its origin in a simple dance called jaleo, consisting of 3 beats to the bar, with the emphasis on the third.

TarantoSong and dance from the province of Almeria. The Flamenco dance possesses two extremes: the profundity of a seguiriya, a sole, or a taranto, and the wild, uncontained gaiety of a bulerias.

Tientos-TangosCante y Baile Festero-from the villages along the Atlantic seaboard near Cadiz. The name comes from the old dances of that region, which produced three different flamenco styles, tientos, tangos, and tanguillo. In the tientos, the singing used to be a simple statement, uncomplicated in style. Perhaps owing to the special interpretation of certain singers, it became more and more serious and developed into a very profound style. The rhythm that the guitar provides is founded on a basic 4/4 pattern, although it is continuously enriched by subtle accentuations on different beats or offbeats. In contrast to tientos, tangos is sparkling and sensual.

MartineteAn austere and rhythmical interpretation of perhaps flamenco's most profound and oldest forms. The rhythm and song pertain to the Siguiriya, but it is not accompanied by music ( guitar ). In essence, both the Siguiriya and the Martinete can be defined as searching for hope in a hopeless situation, or believing when there are no longer reasons to believe in life, thus, confronting death.

JaleoA joyous, yet painful celebration of life, family, marriage, etc. It is usually danced and sung by gypsies in festive gatherings. It expresses the sense of vitality and joy of life, yet it contains a somber and mysterious quality. The Jaleo preaches that life has moments of wonders and joys but tragedy might be waiting just around the corner.


ABOUT THE COMPANY

Under the direction of Martín Santangelo, the award- winning Noche Flamenca has become Spain's most successful touring company. Formed in 1993 by Santangelo and his Bessie award-winning wife, Soledad Barrio, the company regularly tours throughout the globe. Performance highlights around the globe include regular seasons in New York City and Buenos Aires, performances in Greece and Egypt, annual tours to North America, and the company's 2002 and 2009 tours to Australia.

Hailed by critics everywhere for its transcendent and deeply emotional performances, Noche Flamenca is recognized as the most authentic flamenco touring company in the field today. Santangelo has successfully brought to the stage the essence, purity, and integrity of one of the world's most complex and mysterious art forms without the use of tricks or gimmicks. All aspects of flamenco – dance, song, and music – are interrelated and given equal weight in the presentations of Noche Flamenca, creating a true communal spirit within the company - the very heart and soul of flamenco.

In support of its mission to educate and enlighten audiences about flamenco, the company offers extensive residency programs that reach out to people of all ages. With company members based in Spain, Noche Flamenca is registered as US not-for-profit with its office and representation based in New York City. Noche Flamenca's artistic integrity has been recognized with awards from the National Dance Project (2006), the National Endowment for the Arts (2007 & 2008), and the Lucille Lortel Award for Special Theatrical Experience (2003), among others.

Mission Statement

The mission of Noche Flamenca is to create a diverse theatrical body of performance through song, music and dance that expresses a rigorous, spell-binding aesthetic in the form of flamenco; one that exceeds the highest artistic expectations. The company strives to captivate its audiences through its live performances and to evoke in them the vivid and expansive sea of passion and emotion that is flamenco. Through its educational outreach and residency programs, the company seeks to educate and enlighten persons of all ages, races, and economic backgrounds regarding the authentic form of flamenco – a form born of ancestral cultural repression and racial expulsion.


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