Mexicana

The heat was turned up to habanero-strength at the famed Hollywood Bowl on Thursday, when a pair of Mexican national treasures made their debuts: Grammy award-winning conductor Carlos Miguel Prieto led the always superb Los Angeles Philharmonic (the Bowl is the ensemble’s summer home), in a program that, in addition to featuring a trio of orchestral works, accompanied the legendary Ballet Folklórico de México de Amalia Hernández, as the company danced its way into the corazóns (hearts) of Angelenos.

Performance

Ballet Folklórico de Mêxico de Amalia Hernández with the Los Angeles Philharmonic: Choreography by Amalia Hernández and Viviana Basanta

Place

The Hollywood Bowl, Los Angeles, CA, July 18, 2024

Words

Victoria Looseleaf

Ballet Folklórico de Mêxico de Amalia Hernández in Arturo Márquez’ “Danzón No. 2.” Photograph by Elizabeth Asher | LA Philharmonic

Surprisingly, the troupe that was founded in 1952 by the acclaimed choreographer (she died in 2000 at 83), and was once a regular presence in L.A., had not performed at the storied venue before. But that will soon change, as the they came, they danced, they conquered (and will perform at the Soraya March 14-15, and at Segerstrom Center for the Arts March 22). Indeed, led by general director Salvador López López (Amalia’s grandson), and the late choreographer’s daughter, artistic director Viviana Basanta, the company, which brought some 40 dancers to the Bowl, not only embodied the sounds of Mexico in their detailed movements, but could easily rival the Rockettes in their precision unisons.

Opening their half of the program, Ballet Folklórico moved to the sinewy sounds of Sylvestre Revueltas’ “Sensemayá.” Composed in 1937-38, it was based on the ode of the same name by Cuban poet Nicolás Guillén, and was the work that brought Reveultas to international attention. (It was also included on a 1999 Sony release, an all-Revueltas album recorded by the LA Phil under then conductor Esa-Pekka Salonen.)

Alejandro Barranco in José Pablo Moncayo’s "Huapuango." Photograph by Elizabeth Asher | LA Philharmonic

Ritualistic in nature and noticeably indebted to, “Le Sacre du Printemps,” the score consists of constant repetitions, big sonorities (hello, horns!) and melodic motifs, with the dance troupe—a study in swirling skirts, splendid pliés and abundant joy; their bare feet adorned with ankle bells—proved prelude to the arrival of the lead bird, Alejandro Barranco. His presence, albeit brief, but bold and Nijinsky-esque, made his high-flying, regal presence a veritable delight.

Arturo Márquez’ iconic “Danzón No. 2” (1994), is a dance of Cuban origin that was hugely popular in Mexico’s Veracruz region, with the composer, known for bridging the traditional with the contemporary, making use of familiar syncopated danzón rhythms. Personified by a dozen fan-brandishing, shoe-clad gals, who wore gorgeous white gowns festooned with rose-printed aprons, and twelve men in pristine white shirts and black pants—also sporting panama hats—the dancers moved in regiment-worthy lines. Offering high kicks, they also created a kind of butterfly effect, while the lead couple, Alejandra García Op and Marco Aguirre, were symbols of grace and unadulterated pleasure as they dipped and swayed across the stage.

Ballet Folklórico de Mêxico de Amalia Hernández in Sylvestre Revueltas’ “Sensemayá.” Photograph by Elizabeth Asher | LA Philharmonic

Happily, there was a choreographic reprise, with the fan-flutterings reminiscent of the “Move, Members, Move” section of Alvin Ailey’s 1960 masterpiece, “Revelations,” as the orchestra, boisterously modulating upwards, filled the sounds of the Cahuenga Pass.

“Danzónes de Lara,” composed by Agustín Lara, who was called Mexico’s Irving Berlin and died at age 70 in 1970, was heard in an arrangement by Chucho Ferrer. Another terpsichorean rhythmic romp, this work could have been inspired by the overhead patterns of film director Busby Berkeley, with its shapes found, instead, in the many arched backs and churning pirouettes created by the company. That the dance was accompanied by the hoots and hollers of energetic audience members, gave it an even more festive air.

Also festive: José Pablo Moncayo’s “Huapango.” A word derived from “fandango,” and a reference to a wooden dance floor, the work was premiered in 1941 and was inspired by Veracruz folk music. Considered a Mexican masterpiece, the music is the ideal showcase for Vegas-style headdresses, mountain-high kicks and, er, requisite sequins.

Though not anthropologically correct, the theatricality of the dance, coupled with the sheer verve of its performers, couldn’t help but thrill. Included was a sextet of men in sky-high, rainbow-colored headpieces, with the afore-mentioned Barranco making a very brief appearance as the leaping Yacqui deer dancer. And, adding a bit more pageant to the performance, Jorge Torres did a turn as a lariat-wielding cowboy, lassoing a, well, lass, to boot!

An even more fervent encore followed: Damaso Pérez Prado’s “Mambos,” could have been dubbed, “So You Think You Can Mambo.” Three couples—Esmeralda Fierro and Marco Aguirre, Tonatiuh Hernández and Heidy Salazar, and Sofia Larrañaga and Barranco—shredded the stage of the venerable venue with enthusiastic élan and preening partnering. And with the Bowl lit in spectacular colors—halos of light, if you will—this finale, with more false endings than a Beethoven symphony, and, at one point raining confetti, was a perfect close to a rapturous evening.

Ballet Folklórico de Mêxico de Amalia Hernández in José Pablo Moncayo’s “Huapango.” Photograph by Elizabeth Asher | LA Philharmonic

As for the concert’s opening, it, too, was a salute to Mexico, with Prieto, who had served as music director of the Orquesta Sinfónica Nacional de México for 17 years (2007-2022), and is currently music director of the North Carolina Symphony, in full command. Leading the Phil in Carlos Chávez’ Symphony No. 2, “Sinfonía India,” and a pair of works by two living composer—Juan Pablo Contreras’ “Mariachitlán” and Gabriela Ortiz’s “Antrópolis”—a word originating from the word “antro,” a Mexican term for a bar or a nightclub—the maestro—along with the band and the singular Ballet Folklórico de México de Amalia Hernández—truly turned the Hollywood Bowl into an enormous boîte.

Muchas, muchas gracias, and pass the tequila, por favor!

Victoria Looseleaf

Victoria Looseleaf is an award-winning, Los Angeles-based international arts journalist who covers music and dance festivals around the world. Among the many publications she has contributed to are the Los Angeles Times, the New York Times, Dance Magazine and KCET’s Artbound. In addition, she taught dance history at USC and Santa Monica College. Looseleaf’s novella-in-verse, Isn't It Rich? is available from Amazon, and and her latest book, Russ & Iggy’s Art Alphabet with illustrations by JT Steiny, was recently published by Red Sky Presents. Looseleaf can be reached through X, Facebook, Instagram and Linked In, as well as at her online arts magazine ArtNowLA.

comments

Featured

REVIEWS | Karen Hildebrand

An Evening with Omar

A duet featuring the choreographer himself was an unexpected treat when Boca Tuya, founded in 2018 by Omar Román de Jesús, took the stage at 92NY last week. De Jesús is a scintillating model for the liquid, undulating movement style that flows through all three works of the evening.

Event | By Penelope Ford

Dance Critics' Festival

Designed to look at the process and art of writing dance criticism, this one-day event will feature panel discussions with Fjord Review writers, audience Q&A sessions, a conversation with a special guest choreographer, and networking reception.

FREE ARTICLE

INTERVIEWS | Victoria Looseleaf

Dreaming with Jawole Willa Jo Zollar

Creating Urban Bush Women forty years ago—after having had a dream about her parents—Jawole Willa Jo Zollar may have stepped down as artistic director from the women-centered group dedicated to telling stories of the African diaspora through traditional and modern Africanist dance forms, but she’s busier than ever.

FREE ARTICLE

REVIEWS | Rachel Howard

Balanchine's America

George Balanchine loved American culture because he loved America. He had lived through tyranny and chaos as a boy in the Russian Revolution, and though his displays of affection for his adopted homeland could border on silly (like the Western bolo ties he favored as fashion statements), he never took for granted the possibilities he found here, never stopped extolling America’s freshness and energy.

Mexicana

subscribe to the latest in dance

Victoria Looseleaf

comments

Featured

An Evening with Omar

Dance Critics' Festival

Dreaming with Jawole Willa Jo Zollar

Balanchine's America