The acclaimed Dutch Flamenco Biennial is one of the world’s leading Flamenco Festivals and devotes itself to high class, adventurous and contemporary Flamenco. The Biennial presents the latest developments with creators who make up the international vanguard of flamenco. It features a colourful palette of all flamenco forms - dance, music, song – and shows flamenco in fresh, exciting alliances with jazz, contemporary dance and music, and in dialogue with other musical cultures.
The sixth edition of the bianul festival: Flamenco Biënnale Nederland/ Flamenco Biennial Netherlands takes place from 13 to 29 of Jan 2017 en 8 cities:
Amsterdam, Rotterdam, The Hague, Utrecht, Maastricht, Eindhoven, Amersfoort and travels for the first time to Belgium, Antwerp. This editions features a new crop of young and fast rising flamencomakers with whom we once again show new developments in the old Flamenco Art.
AC/E supports the participation of:
Alfonso Aroca, pianist, composer, arranger and teacher, born in Mengíbar, Jaén (1981) and raised in Córdoba, is one of the leading new flamenco jazz pianists from Spain. Versatile and passionate and with a deep knowledge of the traditions he translates with great fantasy the guitar into the keys of a piano. Aroca is one of those young talented artists who innovate the artform, respecting the roots of the ‘arte jondo’. With his sextet, and dancer Abel Harana he will tour the festival to present his debut CD Orilla del Mundo.
The young singer Rocío Márquez is seen as hugely promising and is widely praised for her rendition of the classic flamenco repertoire, but at the same time she has a fine nose for innovation too which takes her off the beaten flamenco track. As artists in residence of this sixth edition she will present her much apraised CD ‘El Niño’, En los Campos de Marchena’ featuring amongst others singersongrwiter Niño de Elche. With joy she walks in the fields of Marchena, giving a contemporary tribute to the singer Pepe de Marchena, in the spirit of the much regretted and admired Enrique Morente. She translates tradition, with the inevitable betrayals; indeed there is no other way, as Enrique Morente rightly said.
Rocío Márquez will also engage in unexpected musical dialogues with strings from all over the world, with rising stars like the Austrian-Iranian cellist Kian Soltani, Dutch cellist Ella van Poucke, Turkish virtuoso kemençe player Derya Türkan and multi-instrumentalist Efrén López in the new festival creation 2017: Fantasía para Violonchelo y Flamenco, a joint production with the Amsterdam Cello Biennial that will tour through the festival.
Spanish baroque guitarist and lute player Enrike Solinís and his Euskal Barrokensemble give the Spanish classical and barok heritage a new lease of life with great verve in ‘El Amor Brujo’, an exciting program where ancient, classical and popular music merge in the most organic and unorthodox way, as it does on the album of the same name (ALIA VOX, Oct. 2016). Solinís, who has played with the greats of the old musicscene like Jordi Savall, René Jacobs and Emmanuelle Haïm, and his ensemble show with amazing swing and rich improvisation how ‘flamenco’ the well know Spanish Classics and old music from the 17th and 18th century can sound.
Rocío Molina is the obvious leader of the new female vanguard. The dancer from Málaga is used to offering risky and radical performances, in which she constantly challenges herself. Her new show, commissioned by the Paris Theatre Chaillot, is no different, stripping flamenco of its routines and corsets. Straddling improvisation and mainstream entertainment, Molina
allows herself a free wheeling approach to her art. Her new creation is a case in point. A recital with her body as sole instrument. Gorgeous. Molina will be this edition’s “Dancer in Focus” and will be in charge of one of the public master classes.
La Compañía Isabel Bayón reinvents herself in Dju Dju. In her latest creation, the much-praised dancer with her extremely graceful, classical style characteristic of the Seville school of flamenco, is taken in hand by her contemporary Israel Galván, who is also responsible for the choreography. In this typical “Galvanesque exercise”, Bayón and two young dancers, Alicia Márquez and Nieves Casablanca, take on the “demons and obsessions of the inner flamenco world” in order to exorcize them ─ in the words of the artists. Following its world premiere at the Seville Biennial, the show will move on to our festival.
The sixth edition of the bianul festival: Flamenco Biënnale Nederland/ Flamenco Biennial Netherlands takes place from 13 to 29 of Jan 2017 en 8 cities:
Amsterdam, Rotterdam, The Hague, Utrecht, Maastricht, Eindhoven, Amersfoort and travels for the first time to Belgium, Antwerp. This editions features a new crop of young and fast rising flamencomakers with whom we once again show new developments in the old Flamenco Art.
AC/E supports the participation of:
Alfonso Aroca, pianist, composer, arranger and teacher, born in Mengíbar, Jaén (1981) and raised in Córdoba, is one of the leading new flamenco jazz pianists from Spain. Versatile and passionate and with a deep knowledge of the traditions he translates with great fantasy the guitar into the keys of a piano. Aroca is one of those young talented artists who innovate the artform, respecting the roots of the ‘arte jondo’. With his sextet, and dancer Abel Harana he will tour the festival to present his debut CD Orilla del Mundo.
The young singer Rocío Márquez is seen as hugely promising and is widely praised for her rendition of the classic flamenco repertoire, but at the same time she has a fine nose for innovation too which takes her off the beaten flamenco track. As artists in residence of this sixth edition she will present her much apraised CD ‘El Niño’, En los Campos de Marchena’ featuring amongst others singersongrwiter Niño de Elche. With joy she walks in the fields of Marchena, giving a contemporary tribute to the singer Pepe de Marchena, in the spirit of the much regretted and admired Enrique Morente. She translates tradition, with the inevitable betrayals; indeed there is no other way, as Enrique Morente rightly said.
Rocío Márquez will also engage in unexpected musical dialogues with strings from all over the world, with rising stars like the Austrian-Iranian cellist Kian Soltani, Dutch cellist Ella van Poucke, Turkish virtuoso kemençe player Derya Türkan and multi-instrumentalist Efrén López in the new festival creation 2017: Fantasía para Violonchelo y Flamenco, a joint production with the Amsterdam Cello Biennial that will tour through the festival.
Spanish baroque guitarist and lute player Enrike Solinís and his Euskal Barrokensemble give the Spanish classical and barok heritage a new lease of life with great verve in ‘El Amor Brujo’, an exciting program where ancient, classical and popular music merge in the most organic and unorthodox way, as it does on the album of the same name (ALIA VOX, Oct. 2016). Solinís, who has played with the greats of the old musicscene like Jordi Savall, René Jacobs and Emmanuelle Haïm, and his ensemble show with amazing swing and rich improvisation how ‘flamenco’ the well know Spanish Classics and old music from the 17th and 18th century can sound.
Rocío Molina is the obvious leader of the new female vanguard. The dancer from Málaga is used to offering risky and radical performances, in which she constantly challenges herself. Her new show, commissioned by the Paris Theatre Chaillot, is no different, stripping flamenco of its routines and corsets. Straddling improvisation and mainstream entertainment, Molina
allows herself a free wheeling approach to her art. Her new creation is a case in point. A recital with her body as sole instrument. Gorgeous. Molina will be this edition’s “Dancer in Focus” and will be in charge of one of the public master classes.
La Compañía Isabel Bayón reinvents herself in Dju Dju. In her latest creation, the much-praised dancer with her extremely graceful, classical style characteristic of the Seville school of flamenco, is taken in hand by her contemporary Israel Galván, who is also responsible for the choreography. In this typical “Galvanesque exercise”, Bayón and two young dancers, Alicia Márquez and Nieves Casablanca, take on the “demons and obsessions of the inner flamenco world” in order to exorcize them ─ in the words of the artists. Following its world premiere at the Seville Biennial, the show will move on to our festival.