„Suite Flamenca” performed by La Moneta company in Bucharest

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Cervantes Institute in Bucharest, supported by the Spanish Embassy to Bucharest and „I.L.Caragiale” National Theatre is presenting „Suite Flamenca” flamenco dance show performed by Spanish dancer Fuensanta La Moneta at the National Theate tomorrow, November 24, 8 p.m. Also starring there is Luis Mariano-guitar, Juan Angle Tirado- vocal and Miguel Rodriguez-percussion.

“Suite Flamenca” is a show where the dancer and the band accompanying her chose to chain several „palos” ( flamenco beats) such as the famous Alegrías din Cádiz, Buleria, Solea, Malagueñas, Seguiriya and Zambra.

Impetous dancer La Moneta is to offer the audience a real aesthetic experience, leading it to the deepest areas of the traditional flamenco creation through dramatic and emotional tensions where the asperity of the cante de jondo and the genius of flamenco dance are rejoining and represent the spirit of this art declared by UNESCO the immaterial patrimony of the humankind.

Tickets are available at the booking office of the National Theatre (Tuesday to Sunday 10:00-19:00 and Monday from 10:00 to 16:00) and online at http://www.tnb.ro/ro/bilete-online.

Fuensanta “La Moneta”, born in 1984 was an early artist, with her passion for flamenco expressing since her childhood. She completed her dance studies with great flamenco artists like Mariquilla, Javier Latorre, Mario Maya, Juan Andrés Maya, Juana Amaya, Matilde Coral, Israel Galván and others.afis_58x84_Suite Flamenca

Fuensanta La Moneta has danced on the most important flamenco stages in Spain, while taking part in verious flamenco festivals in Europe, Asia and America. She starred in the big shows staged by Javier Latorre dance company in “Triana, en el nombre de la Rosa” and “Rinconete y Cortadillo” ballet and in “Por qué se frotan las patitas” movie directed by Álvaro Vegines

The exception to this critique was Fuensanta La Moneta, who performed June 9 at UNM’s Rodey Theater. From the tablaos (flamenco bars) and zambras (flamenco cafés) of Granada, La Moneta shared a full-evening entitled “Bailar, Vivir” with two bailadors—David Coria and Raimundo Benitez—and five excellent singers, guitarists and percussionists. La Moneta, the star of “Bailar,” danced two lengthy solos that opened and closed her show. Each soleá showcased the power in her legs and arms. Her footwork was precise and powerful, each sound a resounding attack on the floor and the dance itself. Loud echoes of foot and heelwork poured vibrational force into the stage, leaving the audience in awe.

In the second, more interesting solo, La Moneta entered the stage with a rush of tremendous energy, stopped and began a series of deep backbends accompanied by extended arms and hands. Her supple fingers traced tiny circles as her she threw her head back, turning around herself. In these stiller, more private moments Moneta’s control over her full body and not just her feet became apparent. Then she abandoned her use of the upper torso, appearing semi-human in quick darts across the floor; these were little conquests of space. A rather small woman with long, shiny black hair, an intense gaze and unkempt costuming, Moneta’s gift is raw power. Her eyes signal a dancer who travels between spirit worlds as she moves from moment to moment across the stage,” reads a review in DANCE MAGAZINE USA in June 2011.

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