Larget-Caplan explicó que existe una gran diferencia entre el flamenco y la música clásica de España. “El flamenco es una tradición oral, es pasada de padre a hijo, de madre a hija, abuelos a nietos y también es a base de surco. Una música a base de surco es cualquier ritmo que se repite y se repite, y se agrupa,” dijo Larget-Caplan. Por contrario, la música clásica española se aprende estudiando y leyendo partituras musicales y no es pasada a través de la voz, según explicó.

Gabriela Granados es fundadora, directora ejecutiva y coreógrafa de American Bolero Dance Company y Spanish Dance School en Queens, Nueva York. Por su parte, el guitarrista Larget-Caplan, natural de Oklahoma y residente de Boston, es fundador del New Lullaby Project y ¡Con Fuego!

¡Con Fuego! incluyó presentaciones calmantes y energéticas como la interpretación de “Asturias” del compositor Isaac Albéniz, uno de los arreglos de guitarra más conocidos internacionalmente y compuesto a finales de los 1800s, originalmente una pieza para piano. A través del repertorio Granados acompañó la guitarra con cánticos, coreografías, palmadas, castañuelas y claqué. Ambos han trabajado juntos por varios años. “Ella me decía ‘Chico blanco’ tienes que aprender a tocar la guitarra,” bromeaba Larget-Caplan.

El 22 de junio a medio día ambos se reunirán añadiendo al violonchelista Rafael Popper-Keizer para una función libre de costo de ¡Con Fuego! durante el Festival Internacional de las Ideas y el Arte en Elm Street Stage, New Haven Green, New Haven, Connecticut. Para mas información sobre el festival visita www.artidea.org. Kimball Towers, 140 Chestnut Street, Springfield, abrió sus puertas en el 1911 como el Hotel Kimball. En aquel entonces la sección de Springfield era una comunidad de personas afluentes, según la pagina kimballtowers.com. En el 1912, los precios de las habitaciones fluían entre $1.50 a $3.50 por noche. A raíz de la Segunda Guerra Mundial, la región sufrió económicamente con una disminución de viajeros. En el 1985 fue renovado y renombrado Kimball Torres, ofreciendo apartamentos residenciales.

“De falla could not find a gypsy to sing on key, but i could,” said larget-caplan of la conja. their show drew heavily from the spanish repertoire, essaying de falla, rodrigo, albeniz and others. larget-caplan also performed some of the lullabies from his new CD, “diablo y tango.” (see flamenco for ordering information)
although there were some complaints in the audience about the chill factor in the room, and larget-caplan was seen rubbing his hands throughout the show, the sound in the room was clean and warm, and the respectful audience let the last note of each song fully resonate.

La conja, perhaps more accustomed to venues such as carnegie hall, perfectly tailored her artistry to the room; indeed, her pitos (finger snapping) and castanet playing were almost distractingly impressive. the standing room only audience was duly appreciative.

La conja and larget-caplan bring a panache to their teamwork that makes the whole somehow greater than the sum of the parts; their ability to express their engaging personalities with technical prowess made the evening fly by.

-Planet Flamenco
http://www.planetflamenco.com/kudos.html

La Conja appeared clad in a simple black blouse and skirt shortly thereafter in "Sevilla" dancing with gorgeous red enamel fan and shoes. What followed was a treat for those of us who haven't been lately to Andalucía - a lady celebrating her beauty on her way to church, coquettish but regal. Her deft manipulation of the fan was something to behold!

The Seven Spanish folksongs by De Falla are a mainstay of Aaron's shows and for good reason - they include among others, "Nana" which is the traditional Spanish lullaby sung by la Conja un-miked, it was intimate and haunting. ¡Con Fuego! did a great job in adding flamenco elements to these classical pieces (originally for piano and voice) and making them fresh, unique and exciting.

Later in the second half - along with the impressive guitar of Aaron Larget-Caplan - Geoffrey Shamu's exquisite cornet was like a second voice singing in clear, unbroken tones. He later went on to play his own arrangement of the theme from Concíerto de Aranjuez by Joaquin Rodrigo (also used for Sketches of Spain by Miles Davis), which highlighted his considerable talent. Kudos to Aaron for assembling such top-flight talent.

More great work by La Conja - she danced "Sevillanas" - all four coplas; using castenets for one, snapping fingers ("pitos") for another (A La Conja trademark) bringing the audience to their own toe-tapping and palmas. She was a vision in red lace and chiffon, using just enough costuming for effect but never going over the top. Her style accents her dancing... not the other way around. She is the consummate entertainer, using her grace, strength, and smile as appropriate for the mood of each phrase.

Tangos came later - "Bordel 1900" & "Café 1930" by Astor Piazzolla & "Tango en Skai" by Roland Dyens (featured on Aaron's CD "Tracing a Wheel on Water") were perfect examples of how this beautiful lyrical & rhythmic music has progressed through history. A welcome addition to the show - illustrating the breadth of Spanish music across continents and eras.

The show ended with "Asturias" by Isaac Albéniz in a piece especially choreographed by La Conja. Aaron played this piece many times before - but with La Conja's remarkable dance interpretation it took on a life of it's own. -- www.FlamencoBuzz.com