DANCE REVIEW : ‘Flamenco’ Stretches Boundaries

Flamenco has always been a world unto itself, so it’s news when artists of great technical and stylistic authority stretch beyond its limits to incorporate outside traditions. In their “Flamenco Fusion” program at the Fountain Theatre on Tuesday, guitarist Adam del Monte and dancer Laila del Monte did just that, layering jazz, Middle Eastern and Western European Gypsy influences without blurring their powerful flamenco impetus.

Impressive enough in duets with flamenco singers Antonio de Jerez and Marisol Fuentes, the playing of Adam del Monte achieved a special mastery in a Tarantas full of moody alternations between emotional turbulence and rapid filigree, a Bulerias compelling for the rhythmic sophistication of its jazz-tinged scamperings and a performance of Albeniz’s “Cordoba” ravishing in its heartfelt simplicity and rich tone.

Ron Wagner’s percussion (including drums from India) and Rick Rossi’s flute enriched the dance segments, during which unorthodox rhythms of 11/8 and 17/8 developed by the Del Montes gave flamenco heel work a distinctive new edge.

In her first solo (Solea por Bulerias y “Laileria”), Laila del Monte contrasted explosions of intense heel work with silent stalking steps (arms coiling overhead) and sculptural poses infused with feeling. The taut flamenco silhouette became softened by Middle Eastern sensuality here--especially in the upper arms and shoulders.

Both gutsy in attack and mysterious in its unyielding inner concentration, her Seguiriyas proved stark in its effects up to the spectacular physical flourish at the end. In contrast, the concluding “De Jerez a Calcutta” found her embodying a mercurial free spirit--one that initially appeared barefoot but later returned in heeled shoes for joyous rhythmic interplay with the musicians and interaction with members of her wildly enthusiastic audience.