Founded in 1983, New York’s Flamenco Vivo Carlota Santana dance company has performed in more than 71 venues in 26 states over the past 5 seasons. This week, the company is at the Brooklyn Academy of Music, where it's in the midst of a six-night run that features two programs and three world premieres.
After seeing the show last night, I would recommend it to anyone interested in flamenco; specifically, where it’s been, where it stands, and where it’s going. It’s a long show – Program A includes six pieces and Program B includes nine – and many, if not all, are successful.
I didn’t care for the Argentine-inspired De Milonga – tango’s unique technical requirements make it almost impossible for dancers of other disciplines to properly execute it; unfortunately, this was no exception – and I found the inclusion of the flute and the saxophone distracting despite the best efforts of the obviously capable musician playing them.
What I loved were three standout pieces that underscore the breadth, joy, and history of flamenco.