A particularly resonant encounter with flamenco

In Southern California, good flamenco dancers abound, but they sometimes have difficulty locating even one noteworthy singer to provide the vocal heart and soul of a program. It felt like a rare treat, then, to find six flamenco singers, raspy and ready for action, Friday night at the Irvine Barclay Theatre for “Jerez, Puro.” Along with three dancers and three guitarists, they made up the New World Flamenco Festival’s “best of” company, brought together by festival director Yaelisa to represent flamenco families from one of the cradles of the art form, Jerez de la Frontera in southern Spain.

On a smoothly orchestrated program bookended by group numbers and frequently featuring the form known as bulerias, singers often made their marks in duets with guitarist Curro de Jerez. “Romeras, Siguiriyas” featured Mateo Soleas’ melodic mournfulness, which was like a cry in the wilderness, embodying all the plaintive and fervent fluctuations of the style.

Intense moments also came from Macarena Moneo, whose harsh sincerity suffered slightly from sound level problems, and from “El Torta” (Juan Moneo), who might have been more effective in a shorter set. Other singers included Luis Moneo and Manuel de la Malena, whose deep resonance was especially effective.

The dancers made declarative statements by turns. Compact Andres Pena unleashed complex, jabbing footwork and neat, swift turns, curiously more effective in brief flashes than in his extended solo, when a bunchy gray three-piece suit hampered his line.

Ana Maria Blanco’s elegant containment made her gliding hands and tight, light footwork float, as if on a dramatically held breath.

For vibrant gypsy spirit, no one could beat Maria del Mar Moreno. Her style was made up of spirited contrasts: angles melting into curves, strides swirling into seductive spirals. During “Siguiriyas,” she danced close to singer Antonio de la Malena, his masterfully deployed notes seeming to embrace her as she gathered troubles around her, shook them off, felt them again, then walked offstage ready to meet whatever came next.

At nearly three hours, the program had a stop-start aesthetic that resulted in many climaxes and resumptions. This phrasing strategy is traditional but can feel repetitive when flamenco is formalized, as opposed to flowing out of social situations. Fortunately, individual artists infused the proceedings with flamenco immediacy frequently enough to bring a little of Jerez to Irvine.