The curtains opened to a dramatic semi-darkness engulfing two guitarists, a cellist, a woman flutist, two singers (one of them female) who accented their cante hondo (wailing chant) with palmas (hand-clapping), finger snapping (pitos), and vigorous foot-stomping. Throughout, this ensemble was to perform alternately with the dancers.
Conceptualized with a theatrical and innovative artistry that encompassed the widest diversity of rhythms, styles and emotional content – while retaining the intrinsic and unique character of the flamenco – each musical or dance number not only sustained but also compelled attention as the performance reached a fevered climax. This achieved, the music or dance number would revert to its initially passive and quiet mode – the dancer walking leisurely to regain momentum (and catch his breath!) – then go through the same gradual process to create even greater intensity and fire.
Thus, the opening number started on a very low key and slow tempo, the singing and wailing growing louder as the instrumentalists stepped up their pace and increased their own volume. Totally mesmerized, the full house broke into hearty applause and ole’s as the number ended.
This "formula" of continuous ebb and rise was to provide the clue or key to the entire program.
Quietly, stealthily entering the stage, Angel Rojas and Carlos Rodriguez were soon demonstrating, through measured, hypnotic movements, marvels of precision, synchronization, (balletic) grace and elegance. Also virility, imperiousness and arrogance that seemed to declare: "We Spaniards are a proud people." Their staccato zapateados and taconeos (footwork), unbelievably rapid yet fully controlled, evoked the thunder of a hundred racing hooves. Or of a charging cavalry.
Their facial expression, no less than their movement, conveyed a whole gamut of emotions, these suggesting rapture, rage, anguish (stressed by the plaintive tones of the flute), joy, jealousy, passion, ecstasy – thereby unfolding the story of the oppressed, ostracized Gypsies who have since been liberated and integrated into the mainstream.
Joining Rojas and Rodriguez, Mayte Bajo displayed sensuous, seductive, sinuous grace. What man could have resisted her "wiles"? Departing momentarily from the authentic flamenco, Mayte later interpreted a dance with castanets.
Angel Rojas’s show-stopping solo figuratively set the house on fire. What dynamism, vitality, robustness of spirit he exuded!
Although flamenco is basically earthy and elemental, innovative touches came in lifts. Alternative rhythms were likewise introduced. Doubtless, every step and intricate combination of steps were thoroughly rehearsed and calculated. Yet, the impression of spontaneity and improvisation consistently predominated, thus rendering the performances increasingly electrifying as the concert went on.
Whenever the music, the percussive beats and the singers’ wailing, foot-stomping, hand-clapping and finger-snapping were in synchronization with the dancers’ own palmas, pitos, taconeos and zapateados, the thunderous effect created was staggering. Mind-boggling.
As fin de fiesta, singer Elisa de la Torre, accompanied by a percussionist, engaged in a brief but brilliant song-and-dance routine full of verve and ardor. What a gracious gesture from the entire company which had allowed Elisa a share of the applause!
Manilans were conversant with flamenco but the rousing oles! and roars of appreciation from the audience were a unanimous assertion that the Concierto de Flamenco was magnificent – the best they’d seen thus far. The fascination it had generated was simply incredible, its triumphant visit a significant augury for the ongoing Spanish Fiesta!