“María was officially named Flamenco Ambassador in 2022 by the city of flamenco, Jerez de La Frontera for her inspired trajectory that began in the 90’s. Her outstanding and critically acclaimed performances have graced the stages of prominent venues in Spain, North America, and the world, including the Hollywood Bowl and The John Anson Ford Amphitheater in Los Angeles, The Joyce Theatre and Lincoln Center Outdoors in New York, Festival de Beaucaire in France, the Palacio Das Artes, Brazil, and countless festivals. And most recently, The Walt Disney Concert Hall Los Angeles, as artistic director and performer of the unprecedented “Fiesta de la Bulería”(program note). There could not be a better “Flamenco Ambassador” than María Bermúdez in terms of care, passion, technique, grit and artistry from what I witnessed Saturday evening at The Ford Theater. Bermúdez has gathered around her an astounding array of talent and skill in the form of dancers, musicians and singers. It was very simply a night of superlatives that never ran out and continued to be forthcoming all the way through to the bows.
Flamenco! Maria Bermúdez’s “Convivencias” – Photo by Starl Amendoza.
“Flamenco! Convivencias, Spanish for coexistence or building of community, Convivencias brings together dancers and musicians from Spain and Southern California for an evening of passion and drama. Convivencias celebrates flamenco as a universal language through a deeply moving, profoundly expressive, and exhilarating performance” (program note). This it did and much more. The musicians were the first to take the stage, and along with the singers began the concert with an intricate flute and violin duo from Juan Parrilla and Bernardo Parrilla respectively. Joining in was the immaculate Andrés Vadin on guitar with Manu Hernandez on electric guitar. Adding to the insanely sharp and complicated rhythms of the night was percussionist Diego “El Negro” Álvarez. The two singers then chimed in and brought the evening to a whole new level of heart-wrenching emotion and giddy heights of passion all conveyed through vocals and tonality. Ismael Fernández began with a soul twisting call in his voice, followed by Carmen Grilo who embodies all that she sings. Every emotional nuance is displayed in her body and face as she contorts to deliver the full expense of each feeling. She must be seen to be fully appreciated for her singing ability. Later in the show Pelé de Los Reyes took the stage to sing and affect the audience with his interpretation and powerful voice. His physicality reminded me of Mick Jagger not being able to keep still as he launches his heart and soul into any song he is performing. These singers blew the walls off of the Ford as there is no roof.
Flamenco! Maria Bermúdez’s “Convivencias” – Singer Carmen Grilo – Photo by Starl Amendoza.
Then the dancers took the stage for a group introduction. Maria Bermúdez was first in a spectacular white flamenco dress with black trim. This she showed off to great effect and gave us a taste of what was to come in her rapid-fire footwork and sharp arm movements. Then came Carlos Menchaca, Sabrina Ibarra, Ysabella Yturralde, Timo Nuñez, and Nino de Los Reyes. Each artist singular, exemplary, specific and in complete control of their instrument, by that I mean body. It was an intimidating line-up. There were flurries of individualism and then a rollicking unison rhythm ending in a physical exclamation point! The show proceeded from there and only grew in excitement and artistic content. It is important to note that there were no tricks or aggrandizing movements to wow the audience. We were wowed by the simple act of a slow-motion turn with upraised arms and the fiercely intent gaze of the dancer. The focus of all was laser like and constant, like Eagles seeing their prey from half a mile away.
Flamenco! Maria Bermúdez’s “Convivencias” – Photo by Starl Amendoza.
Bermúdez and Menchaca had a brief duet, emotionally evocative, sharp and passionate – that word will be overused here and not quite capturing the intensity of the live physicality of the movement. Then a solo by Carlos Menchaca with whip like turns, knee spins and floor work as well as the usual upright footwork. He tore up the floor with his speed and precision. Next Ibarra and Yturralde had a duet utilizing two chairs while wrapped in large white lace shawls. Their unison work with the shawls was mesmerizing. Manipulating the shawls as a matador would his muleta, the two wove a hypnotic kaleidoscope with the material. It was fantastic arm and shoulder dexterity whipping the large cloth around like a roper’s lariat. At the end they both stopped on a dime, knocked their chairs over and walked off – triumphant. Timo Nuñez came out and gracefully took center stage wearing all black but with white boots. The white accentuated the speed and precision of his feet. His solo was measured, sophisticated and sensual. He had very slow port-de-bras making for intense sequences and at one point his shirt became undone. He slipped his hands into the ends of his shirt and worked it like a bolero jacket, pulling it taught and using it against the torque in his body. He embodied very much a dark Apollo here.
Flamenco! Maria Bermúdez’s “Convivencias” – Pele De Los Reyes – Photo by Starl Amendoza.
There was a number with a very young girl. She arrived onstage with a formidable red dress with train, red shoes, and red headdress. I’ll call her the Infanta as there was no program. She was fabulous and had all of the training with head movements, arm carriage, and dress manipulation of the older generation in miniature. She is going to be a force to be reckoned with as she gets older. Hail the Infanta! Nino de Los Reyes came after with a short leather jacket over his black ensemble. His footwork was as exacting but a bit more grounded and solid. He flew into flurries of footwork circling and then facing the musicians. Then down center for a crowd-pleasing riff on the rhythms. His style was night and day from the others and certainly from the Infanta. The rest of the cast returned for a stage burning finale that brought the house to its feet.
Flamenco! Maria Bermúdez’s “Convivencias” Unlisted young dancer – Photo by Starl Amendoza.
The evening passed quite quickly due to the excitement of the dancing and the pace of the musicians. All were adding their own particular tastes to the overall event in a way that saturated the senses. If you ever see that Maria Bermúdez and her company are performing nearby or far away – Go!
To learn more about María Bermúdez, please visit her website.
For more information about The Ford Theatre, please visit their website.
Written by Brian Fretté for LA Dance Chronicle.
Featured image: María Bermúdez – Photo by Madeline Oaklander Photography.
