Olga Pericet is tiny like many flamenco female dancers (this week I have spoken to Belen Maya, Rocio Molina, Fuensanta la Moneta and they are all small bundles of energy). Molina’s show was the most sensual of this festival with beauty at its very core. Jesús Fernandez was a perfect foil using contemporary dance moves as much as flamenco. Each dance was exquisite with much humour, notably the barefoot opening with castanets when Pericet wearing a skewed frilled costume turned flamenco and herself upside down. The culmination a soleá for which she was dressed like a black swan in fine bata de cola was thrilling. A kind of subdued erotisim permeated the whole show which was framed by poetry in tune with its Ovid’s Metamorphosis theme, opening with tributes to her home city through Marchena’s Romance a Cordoba and Albeníz’ Cordoba. Marchena’s La rosa saw her dance a beautiful milonga, then a fabuous cantiñas with José Angel Carmona on guitar. Each piece had its’ breathtaking moment and one left the theatre feeling emotionally rejuvenated.
- Sunny Side Up: ‘So much depends upon an (my Dad’s old grey) wheel barrow beside the three brown chickens’ (with apologies to William Carlos Williams)
- Singing, singing singing: Music Mind Map for IPM, Liverpoool Uni.
- Pyromania and rats who have now nested below the Yemaya house
- Cuban women musicians talk to Jan Fairley: ‘Saliendo del cuarto de Tula’; Camino de Santiago and ‘Old ladies’ exhibition photos up on Facebook.
- Critiquing Paul Simon and Graceland revival: could Simon not be taken for a ‘rip off” merchant?
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