2016 House Programs Voces - Page 2

AUSTRALIAN EXCLUSIVE VOCES BALLET FLAMENCO SARA BARAS THE PROGRAM I. La Llama Music Canción de Amor—Paco de Lucía At one end is birth, at the other is death. Everything in between is just dancing. Flamenco is in the blood of Sara Baras: since her earliest lessons as a child taught by her mother, she has channelled the energies that have led her to the most prestigious stages in the world today. A cultural icon in Spain, the first lady of flamenco marries ferocious footwork with flowing grace. Steeped in tradition but drawn in countless directions by influences across history, flamenco is a form as restless and irresistible as the spirit of its homeland. Voces is Baras’ salute to the maestros who have shaped her gift, and a tribute to the art of flamenco itself. Featuring 14 dancers and musicians, this lavish, large-scale production will lead you back to where it all begins: the human heart. Duration 1 hr 40 mins, no interval “Fast, fierce and controlled.” ~ THE GUARDIAN “Sara Baras is one of those performers you just can’t take your eyes off.” ~ THE DAILY TELEGRAPH II. Bulería de Chabo Choreography Sara Baras Music J. Jiménez Chaboli Dance Sara Baras—Corps de Ballet “The sea has been and continues to be very important for me. I can’t be without the sea, I need the sea and it sustains me, like when someone seeks a drug or medication for something... you have to master the technique in such a way that you must forget about your fingers so that what you’re feeling flows directly outwards without even noticing the medium through which it’s flowing—the instrument— and it is then, all of a sudden, that you experience inspiration; you grab hold of the guitar and a beautiful line of music escapes from within you. But I believe more in hard work; if you’re waiting for inspiration to come by itself like that, you could spend six months doing nothing... from a very young age I realized that flamenco was a language, one which could be expressed with a vocabulary of ten words, and I had a theory that this vocabulary could be expanded so that instead of using just ten words, a thousand could be used. And why not, provided it maintained flamenco’s spirit and essence, its idiosyncrasies, its personality, its character... When your stimulus is hunger, it’s very easy, but when your stimulus is to become a good guitarist, if possible the best guitarist, well that’s much more complicated; it’s much more complicated because the spirit is insatiable, impossible to satisfy...” ►► Paco de Lucía