Sadler's Wells, Gala Flamenca Review ★★★★★

Up until almost the end, this year’s Flamenco Festival shows on Sadler’s Wells’ main stage had been dominated by women. Grand dames of flamenco such as Sara Baras and Mercedes de Córdoba brought the indomitable power and artistry of women to the fore, dazzling with their dancing and the sheer intensity of their female presence.

The final programme of the Festival, the Gala Flamenca, though, belonged to the men. Nor was it a traditional gala, banking on colour, noise and spectacle. This Gala Flamenca was a small-scale affair, where the audience seemed to be eavesdropping on evening around the fire in some gypsy encampment somewhere in Southern Spain, and it was all the more transporting for it.

The surplus of testosterone was tempered somewhat by the presence of a guest female singer, the excellent Sandra Carrasco; but the men owned this show.

To start with, we had two guitarists, one percussionist, two male singers and three exceptional dancers representing different styles and generations. The big surprise was reserved for the very end, with an appearance by octogenarian Carrete de Málaga, a legendary figure of flamenco adored throughout Spain, where he is also known as The Fred Astaire of flamenco.


Carrete de Málaga. Photo: Paco Lobato
The epitome of elegance with his silvery waistcoat, polkadot cravat and grey hat, he cut an imposing figure: tall, and if not so trim as in his younger days, his back still ramrod straight, the tilt of his head proud, if not even a touch arrogant. And my, what a smile!

Carrete de Málaga slowly walked to the centre of a semi-circle where the whole cast sat on chairs watching him with evident reverence and affection. For a while he teased: he walked slowly in a circle, raised his arms, presented himself.

And just when you were perhaps wondering, can he still do it? he unleashed a salvo of machine-gun fire 'zapateado' so powerful it sent a visible jolt of energy through cast and audience alike.

After a little while he sat down, but his feet kept up the rhythm, urged on by the playing and clapping of the other performers. It felt like a tremendous privilege to be able to watch such a great artist.

Prior to that the gala, directed by Manuel Liñan, had offered its own riches, with every participant allowed space and time to show their talent. Dancers Alfonso Losa and El Yiyo performed solos of contrasting styles: the younger, impetuous El Yiyo all vitality, strength and show off; the older Alfonso Losa punctuating his power, speed and precision with movements of balletic elegance.

But it was Manuel Liñan who lifted the show to new heights with his extraordinary performance in female 'bata de cola' (pictured top). A daunting technician and emotional performer, he brings to the codes of female flamenco an undefinable intensity that raises the art form to a peak of purity beyond gender – it is simply, dazzlingly flamenco.