Dance Review: Flamenco Dancer Olga Pericet’s ‘Baile Sonoro’

I fell in love with Flamenco in the late 1980s when I was introduced to the robust artistry of Maria Benitez and her company, Maria Benitez Teatro Flamenco. It was with great excitement that I looked forward to her annual performance at the Joyce Theater in New York City.

Maria Benitez’s performance was raw with energy and passion, and after many of her complex rhythmic cycles, I realized I was holding my breath. That is how spellbound her performances left me. I eagerly awaited her annual return to immerse myself once again in that breathtaking experience.

Before each performance began, Benitez’s husband, Cecilio, cofounder/producer of the company, would take center stage to explain Flamenco’s intricate rhythms and techniques. In great detail, he would attempt to demystify this complex art form for American audiences. I must admit that his educational interlude was greatly appreciated and enhanced the theatrical experience.

I have seen dozens of Flamenco performances since then, and I have unabashedly loved them all, although I admit to loving some more than others. But I have never been able to recapture that sublime enthusiasm until I saw Olga Pericet’s “Baile Sonoro” recent performance at Repertorio Espanol on East 27th Street in New York City.

The Repertorio Espanol venue was the shared vision of Gilberto Zaldiva and Rene Buch, who joined forces in 1968 to enshrine Hispanic culture in the expanding North American Spanish-speaking population. Neither visionaries are still with us, but their dream lives on in the many productions premiered at the site and the awards and accolades it has received.

Pericet’s “Baile Sonoro” began with three people entering the darkened stage to silently and theatrically face the audience. Singer Mercedes Cortes entered first, with dancer Olga Pericet in the center, and composer/guitarist Jose Manuel Leon entering last.

Slowly, they separated, and Pericet began a passionate Farruca, which is a form of Flamenco dance usually associated with male Flamenco dancers. This probably accounts for the unassuming dark pantsuit she wore, as well as her intense demeanor. Her footwork was electric and some of the best I have ever seen, with flashing feet and an appropriately stiff back.

Next, Manuel Leon and Cortes took center stage, and Manuel Leon began strumming a stirring song that accompanied Cortes’ authentic coarse voice and wailing notes. Cortes’ voice was strong, expressing the de rigueur throaty visceral passion required. Flamenco song or cante is considered the soul of Flamenco, and Cortes played her role exceptionally well.

This break gave Pericet a chance to change into a long, black mourning dress for a dark and dramatic entrance and dance. She changed costume and dance styles frequently to represent the many forms of Flamenco.

In one dance, she appeared with castanets, while in another she appeared with the long fringed shawl. Yet another included two fans in a tour-de-force with Manuel Leon in a point/counterpoint to his musical accompaniment. Another was a face-to-face dance with Cortes – dancer to singer –  encouraging each other to greater and greater heights.

It’s hard to say which of Cortes’ songs were traditional or of Manuel Leon’s creation, but one thing was certain, his solo performance left no doubt of his authorship. I’m not exaggerating when I say that his solo was a masterwork – a mesmerizing guitar performance of the highest order.

The serious tone that opened the performance lightened considerably as the evening progressed, which give Pericet an opportunity to show off her humor and sexy playfulness. For me, she captured the essence of Benitez and an authentic style of dancing I had not seen in years.

Once again, I thrilled to a Flamenco performance that left me breathless. Kudos to Pericet, Manuel Leon and, Cortes, and to Repertorio Espanol for bringing “Baile Sonoro” to New York City.