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A full house standing over and over again is surely the most that any performer can possibly ask for and we became a part of that ovation tonight. The Sydney Festival saved one of the best acts for last with Sara Baras, one of the most extraordinary and most loved contemporary Spanish Flamenco artists in the world. Baras brought her wonderful company of dancers and musicians to the Concert Hall of the Sydney Opera House and this was the first of three performances for the Festival.
For more than 35 years Baras has graced the stages of the world. You can see she adores every member of her audience – it’s a mutual admiration. With her signature back bend, lightning fast footwork, unexpected smile (how many Flamenco dancers do you see smiling?) and many kisses she throws our way, it’s no surprise why she has so many millions of followers.
Baras began her dance company back in 1998. With a long list of international awards, she has stomped the boards across Asia, Europe, South America, Russia and USA. The theatres include London’s Royal Albert Hall, New York City Centre, Bunkamura Theatre in Japan and more than 200 performances at the Champs-Elysées Theatre in Paris.
Baras cuts a powerful silhouette creating memorable, photo like images throughout the performance. The themes for each section of the show are clean cut and uniform in presentation so there are no distractions from the dance and music. Her interaction with the other performers shows they have great mutual respect. Sometimes she is the idol taking centre stage, other times she might sit at the foot of one of the singers holding his hand as they present an idea together. Each performer seems to revel in working with her as if they know these moments are limited and they are co-creating memories for a lifetime. She seems just as happy to be one of the team and such humbleness adds to her appeal.
Near the beginning of the show, Baras performs a duet with guitar where she first breaks into her astounding, fierce footwork. She finished with a stomp, hand towards the audience and was greeted with stunned silence. The Australian audience was not clear on how to react. She simply smiled and continued on. As the show progressed the audience got braver, then the applause and shouts of appreciation got louder and more frequent until they finally rose to a frenzy.
Sydney does not see many touring Flamenco shows. It’s a different experience to see the interplay between male and female being so intense and subtle whilst fully clothed. The audience were thrilled yet curious viewing such a high class, sophisticated conversation. The flow of the production was beautifully directed moving from one scene to the next. Costumes vary from strong primary colours through to a subtle finale of silver and sea green.
Special mention in this show is for a couple of components which take on their own character just as much as any other artist. Firstly, the most astonishing antique silk shawl featured by Baras which moves in a way no modern synthetic fibre could simulate. Secondly, an enormous fringe which separates upstage from downstage. It runs the full height and breadth of the Concert Hall stage altering its mood and purpose with expert lighting. Opaque, it creates a more intimate space downstage, darkened, we can view the action happening upstage captured with dramatic spot lights or it flies away leaving a grander picture. At one point, Baras steps through to the front and immediately starts spinning. The fringe catches in her hair and she deftly lifts it off, continuing to spin with it in her hand before letting it drop. There were a couple of small incidents where Baras showed her many years of stage experience by simply correcting the fault and continuing without a hiccup.
Her female dancers are all extraordinary individuals though costumed and choreographed so they are difficult to identify, they are so much alike. Similar height, body build and costuming they perform as one with only a small opportunity to express individuality. One male dancer is featured. He is another wonderful dancer with a super star smile, always dressed in the colours of the corps de ballet with flying wet hair sending out spray as he flicks another spin.
Each musician is chosen for their supreme talent as well. Two percussionists changing from the box to bongo, conga and snare etc., two wonderful singers each with their own style and tone; two outstanding guitarists of course and a woodwind performer who has gained his own fan base for unique playing of saxophone, harmonica and jazz flute. The saxophone solo was worth a show in itself. (Names are all listed below.)
Baras choreographs, writes and directs her own stage shows. After so many years of output you can no longer count them on your hands. It’s an immense amount of work to put together 90-120 minutes of music and dance. “Alma” has a modern “nuevo” flamenco feel with a fair amount of jazz styling mingled with traditional rhythms and tunes such as bolero, siguiriya, soleá and bulerias.
I saw the performance that took place on the 27th January 2023 at the Concert Hall in the Sydney Opera House.
This was world class entertainment.
Cast on stage
Sara Baras with
Dancers
Chula García, Charo Pedraja, Daniel Saltares, Cristina Aldón, Noelia Vilches, Marta De Troya
Musicians
Keko Baldomero, Andrés Martínez, Rubio De Pruna, Matías López “El Mati”, Antón Suárez, Manuel Muñoz “El Pájaro”, Diego Villegas
Related Links
Sara Baras directed by Carlos Saura on Youtube: https://www.youtube.com/watch?v=QLnEjHuMFsA
Sara Baras website: https://www.sarabaras.com/?lang=en
Sydney Festival: https://www.sydneyfestival.org.au/