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Nueva York Flamenco City with La Meira & Pedro Cortés
$15
Nueva York Flamenco City with La Meira & Pedro Cortés
Presented by Terraza 7
Saturday March 18th, 2023, at 9:00 pm.
Presented by Terraza 7
Saturday March 18th, 2023, at 9:00 pm.
$15: Cover at Mezzanine
Featuring:
La Meira / Bailaora
Pedro Cortés / Guitar.
Alfonso Cid / Cantaor; Flute and musical director.
Pedro Cortés / Guitar.
Alfonso Cid / Cantaor; Flute and musical director.
About Pedro Cortés:
Pedro comes from a family of Spanish Gypsy guitarists and began his studies with his father and the esteemed Flamenco guitarist Sabicas. Having toured professionally since the age of 17, he is gaining international recognition as a soloist and composer. He has premiered his work En la oscuridad de las minas at the Teatro Albeniz in Madrid, he had works premiered by the Carlota Santana Spanish Dance Company at the Joyce Theater in New York. He has two books on Flamenco, El Dron del Faraon and Cruzando el Charco, published by the American Institute of Guitar.
Pedro comes from a family of Spanish Gypsy guitarists and began his studies with his father and the esteemed Flamenco guitarist Sabicas. Having toured professionally since the age of 17, he is gaining international recognition as a soloist and composer. He has premiered his work En la oscuridad de las minas at the Teatro Albeniz in Madrid, he had works premiered by the Carlota Santana Spanish Dance Company at the Joyce Theater in New York. He has two books on Flamenco, El Dron del Faraon and Cruzando el Charco, published by the American Institute of Guitar.
Cortes, was commissioned by the Cohen Brothers to compose music for the film Paris Je T’Aime. He also wrote music for a childrens program on HBO called Fairy tale for Every Child.
He has toured with Jose Greco and Maria Benitez, La Conja and has performed with such artists as Farrucita, La Tati, Merche Esmeralda, Manolete and the late Lola Flores. He has been guest artist with the St. Louis Opera and the New York Grand Opera, and has been commissioned by and performed as Musical Director with the Guthrie Theater In Garcia Lorcas BODAS DE SANGRE.
Mr. Cortes is artistic director of his own Flamenco group, and also Musical Director of Palo Seco. Cortes is a third generation Flamenco guitarists and uses the experience passed down to him by his family to maintain the purity of Flamenco while creating new compositions.
Mr. Cortes is artistic director of his own Flamenco group, and also Musical Director of Palo Seco. Cortes is a third generation Flamenco guitarists and uses the experience passed down to him by his family to maintain the purity of Flamenco while creating new compositions.
About Alfonso Mogaburo Cid:
Alfonso was born and raised in Sevilla, the heartland of flamenco music. He also had the opportunity of attending the activities of one of the most significant flamenco clubs in Andalusia, the Peña Flamenca Torres-Macarena in Seville. Alfonso has toured extensively throughout the USA, Latin America, Israel and Europe, and has just toured Spain last February of 2018 with the Jazz/Flamenco band the New York Bojaira Project by pianist Jesús Hernández from Granada, Spain.
Alfonso was born and raised in Sevilla, the heartland of flamenco music. He also had the opportunity of attending the activities of one of the most significant flamenco clubs in Andalusia, the Peña Flamenca Torres-Macarena in Seville. Alfonso has toured extensively throughout the USA, Latin America, Israel and Europe, and has just toured Spain last February of 2018 with the Jazz/Flamenco band the New York Bojaira Project by pianist Jesús Hernández from Granada, Spain.
About K. Meira Goldberg “La Meira”:
“La Meira” is a flamenco dancer, choreographer, teacher and scholar. She began her training in her native Los Angeles with Luisa Triana, Roberto Amaral and Carmen Mora, and in the 80s studied by day and performed by night in several of Madrid’s best tablaos (flamenco clubs): Luisillo’s Los Cabales, Manolo Caracol’s Los Canasteros, and as the solo attraction at the Arco de Cuchilleros. She has performed with many of the giants of Flamenco, including Antonio Canales, Tony “El Pelao” y “La Uchi,” Dolores Amaya “La Pescadilla,” Manolo Soler, Diego Carrasco, Juanito Habichuela “El Camborio,” Jose Soto, Enrique Soto, Ramon El Portugues, El Guadiana, El Indio Gitano, El Chato de la Isla, Pepe Montoya “Montoyita,” Ramón Jiménez, Arturo Pavon, Dolores de Cordoba, Tito and Diego Losada, Chuni Amaya, La Repompa de Malaga and Raquel Heredia, Alfredo Lago, and Antonio “de la Malena.”
La Meira has been first dancer in Carlota Santana Flamenco Vivo, Fred Darsow Dance, and Elba Hevia y Vaca’s Pasión y Arte, performing throughout North America in venues such as Carnegie Hall, the Joyce Theater, the Kennedy Center, and Jacob’s Pillow. Meira has been featured in several documentaries, including Jocelyn Ajami’s Queen of the Gypsies. She has been awarded choreography grants from Pew Charitable Trusts, American Dance Festival, and the New York State Council on the Arts. She choreographed “Carmen” under the baton of Seiji Ozawa, and the first staging of the 1915 version of Manuel de Falla’s “Amor Brujo” since Pastora Imperio performed it in that year, along with the rarely staged opera “La Vida Breve” for the Manhattan School of Music. The New York Times called the production “one of the more audacious, intriguing operatic undertakings to hit a New York stage this season.”
As a scholar, K. Meira Goldberg holds an M.F.A. in choreography as well as an Ed.D in dance history from Temple University under Brenda Dixon Gottschild. She is currently working on a book entitled “Sonidos Negros: On the Blackness of Flamenco.” Her article “Sonidos Negros: On the Blackness of Flamenco” is in Dance Chronicle 37:1. She is co-curator of the 2013 exhibit “100 Years of Flamenco in New York” at the New York Public Library for the Performing Art at the Lincoln Center, and co-author of the catalog. She is currently co-editing an anthology of new Flamenco scholarship for McFarland, and is translating six chapters from Spanish. She is a member of the Wertheim Study at NYPL. Meira’s doctoral dissertation on Carmen Amaya is a widely used resource within the English-speaking Flamenco community: it references over twenty-five interviews with figures such as Sabicas’s brother Diego Castellón, and Carmen Amaya’s sisters Leo and Antonia. Meira teaches at Sarah Lawrence College and at the Fashion Institute of Technology; she has taught at and guest lectured at NYU, Flamenco Festival International in Albuquerque, Ballet Hispanico, Bryn Mawr, Princeton, Duke, and Smith College.
“La Meira” is a flamenco dancer, choreographer, teacher and scholar. She began her training in her native Los Angeles with Luisa Triana, Roberto Amaral and Carmen Mora, and in the 80s studied by day and performed by night in several of Madrid’s best tablaos (flamenco clubs): Luisillo’s Los Cabales, Manolo Caracol’s Los Canasteros, and as the solo attraction at the Arco de Cuchilleros. She has performed with many of the giants of Flamenco, including Antonio Canales, Tony “El Pelao” y “La Uchi,” Dolores Amaya “La Pescadilla,” Manolo Soler, Diego Carrasco, Juanito Habichuela “El Camborio,” Jose Soto, Enrique Soto, Ramon El Portugues, El Guadiana, El Indio Gitano, El Chato de la Isla, Pepe Montoya “Montoyita,” Ramón Jiménez, Arturo Pavon, Dolores de Cordoba, Tito and Diego Losada, Chuni Amaya, La Repompa de Malaga and Raquel Heredia, Alfredo Lago, and Antonio “de la Malena.”
La Meira has been first dancer in Carlota Santana Flamenco Vivo, Fred Darsow Dance, and Elba Hevia y Vaca’s Pasión y Arte, performing throughout North America in venues such as Carnegie Hall, the Joyce Theater, the Kennedy Center, and Jacob’s Pillow. Meira has been featured in several documentaries, including Jocelyn Ajami’s Queen of the Gypsies. She has been awarded choreography grants from Pew Charitable Trusts, American Dance Festival, and the New York State Council on the Arts. She choreographed “Carmen” under the baton of Seiji Ozawa, and the first staging of the 1915 version of Manuel de Falla’s “Amor Brujo” since Pastora Imperio performed it in that year, along with the rarely staged opera “La Vida Breve” for the Manhattan School of Music. The New York Times called the production “one of the more audacious, intriguing operatic undertakings to hit a New York stage this season.”
As a scholar, K. Meira Goldberg holds an M.F.A. in choreography as well as an Ed.D in dance history from Temple University under Brenda Dixon Gottschild. She is currently working on a book entitled “Sonidos Negros: On the Blackness of Flamenco.” Her article “Sonidos Negros: On the Blackness of Flamenco” is in Dance Chronicle 37:1. She is co-curator of the 2013 exhibit “100 Years of Flamenco in New York” at the New York Public Library for the Performing Art at the Lincoln Center, and co-author of the catalog. She is currently co-editing an anthology of new Flamenco scholarship for McFarland, and is translating six chapters from Spanish. She is a member of the Wertheim Study at NYPL. Meira’s doctoral dissertation on Carmen Amaya is a widely used resource within the English-speaking Flamenco community: it references over twenty-five interviews with figures such as Sabicas’s brother Diego Castellón, and Carmen Amaya’s sisters Leo and Antonia. Meira teaches at Sarah Lawrence College and at the Fashion Institute of Technology; she has taught at and guest lectured at NYU, Flamenco Festival International in Albuquerque, Ballet Hispanico, Bryn Mawr, Princeton, Duke, and Smith College.