Written by Keolanani Kinghorn and Guest Writer Professor Sam Bryson
SALT LAKE CITY, UT—Westminster Performing Arts Center | April 6–7, 2025
Presented by Westminster Performing Arts, A’lante Flamenco’s two-night performance lights a fire on stage at the Westminster Performing Arts Center in Salt Lake City. With a seamless blend of traditional flamenco and modern innovation, the Austin-based ensemble delivered a deeply moving and electrifying experience—one that transcended borders and languages to speak directly to the soul.
Founded and led by Artistic Director and choreographer Olivia Chacón and Music Director Isaí Chacón, the group is a tour de force of artistic synergy. Their shared vision—to cross cultural and linguistic boundaries through the visceral power of live music and dance—was not just realized but embodied from the first note to the final breath of the performance.
The concert opened with “Ni de Aquí, Ni de Allá”, a piece composed and choreographed in 2024 to honor the layered identities and immigrant stories within the company. Guest dancer Bianca Rodriguez launched the evening with a solo that was equal parts vulnerable and commanding. Clad in a stunning white ruffled dress, her every step spoke to the tension between rootedness and displacement. Even before the music began, the silence was electric, charged with anticipation—as if the other dancers and musicians were whispering unseen encouragement: “¡Olé!”
As Bianca’s poised stillness gave way to movement, the ensemble joined in with haunting harmonies that set the emotional tone of the night. The rhythm began—palmas, palillos, zapateados—interweaving with her footwork in a fiery conversation of movement and sound. Here was duende—that elusive, soul-baring force of flamenco—in full, unfiltered presence. Each flick of Bianca’s hand and sweep of her arms echoed with purpose, while the flamenco shoes, imported from Spain and embedded with tiny nails, transformed her feet into percussive instruments.
The dancers—Olivia Chacón, Bianca Rodriguez, and Sofia Hurtado—formed a trio of magnetic force. Olivia, in vibrant red, danced with an intensity and groundedness that commanded the space. Sofia, dressed in elegant black, contributed fluid grace and emotional depth. Their shared rhythm was flawless, and the visual motif of red and white flowers in their hair symbolized both unity and tradition.
In Limosna de Amores, singer Celia Corrales Sellers delivered a performance that embodied the essence of flamenco and duende. Originally from Cádiz, Spain, Celia grew up immersed in flamenco culture, and her performance radiated an unfiltered authenticity. Her voice did more than carry a melody—it carried the ache of lived experience. Casi me pareció que estaba llorando. It almost seemed like she was crying or mourning at times. Celia let the passion of the song override considerations of perfect intonation or tone production, choosing truth over polish. The rhythm subtly shifted as the piece progressed, sometimes feeling as though it was in 6, sometimes in 3, adding to the expressive instability of the performance. This torch song—an homage to the legendary Lola Flores—broke through any language barrier with raw emotional force. Afterward, Olivia reminded the audience that the show was titled Amor Flamenco, noting that most of the songs centered on love. Celia added, “It was love… at some point. It didn’t work out.” The audience laughed, but the sting lingered—a perfect reflection of flamenco’s bittersweet soul.
In Cuando Yo Me Muera (Seguiryia), the guitars begin with a striking duet that feels more composed and structured than some of the other pieces. Isai and Jose, both masters of la guitarra, display their skill through intricate five-finger flourishes and rapid triplets, accentuating the rhythmic complexity while maintaining melodic and harmonic cohesion. Sofia’s dancing is powerful, fierce, and visceral—her unwavering focus pulls you in completely. The shawl becomes an extension of her body, adding elegance and tension to the performance. Meanwhile, Isai’s raspy singing voice conveys a raw passion and indifference to external judgment. It’s as if his voice declares, “The now is what matters. This moment.” Describing this moment, Professor Sam Bryson shared, “His sound captures the essence of the cantaor tradition I encountered in towns across Andalusia, particularly during my time in Granada.”
As the piece progresses, Sofia’s focus and energy remain unrelenting, even as the tempo accelerates—surpassing 270 and even 280 beats per minute. It is evident while watching Sofia how much strength and stamina dancing the flamenco require, yet she only steps offstage long enough to set down her shawl before rejoining the group with singing, handclaps, and foot stomps. The momentum never lets up, and neither does she.
In Spain, the guitarists showcased their versatility, blending jazz, classical, and flamenco styles in this Chick Corea classic. José demonstrated not only rhythmic precision but also a rich melodic and harmonic sensibility. It was thrilling to hear Isai double the melody an octave lower, adding depth and texture. One of the highlights of the performance was when José and Isai began trading choruses—each new phrase more exhilarating than the last. This piece served as a brilliant showcase of their musical dialogue and effortless chemistry.
Another standout moment came with “Hacia la Mar la Vela (Cantiñas)”, performed by Olivia in a sweeping red bata de cola. The dress itself became an integral part of her performance, the long train fluttering behind her as she gracefully kicked the hem and sent waves of fabric rippling in time with her footwork. The flicks of her hands were like delicate punctuation to the rhythm, each movement sharp and precise, adding layers of expression to the dance. She danced one of the most popular styles of flamenco—the Cantiñas (or Alegrias de Cádiz)—with a profound mastery that blended tradition with her own expressive style. Dressed in a long red flamenco dress with a Bata de Cola, Olivia commanded the stage with elegance and power.
The music—traditional, arranged by Isaí Chacón and guitarist, José Manuel Tejeda—swelled with life, and Olivia’s choreography, rich with the soul of flamenco, filled the room with energy and passion. Her performance wasn’t just a display of technique; it was a living, breathing work of art, embodying the fierce and graceful spirit of flamenco in every moment.
José’s solos were a masterclass in expressive restraint and technical brilliance. Originally from Havana, Cuba, and trained at the prestigious Instituto Superior de Arte, José plays with an awareness that goes beyond accompaniment. His phrasing seemed to breathe with the dancers, responding to each gesture as if in conversation. He and Isaí—both as individual musicians and as a duo—provided the backbone of the performance with rhythmic precision and deep musicality.
Isaí Chacón, the ensemble’s musical director and a native of Durango, Mexico, is a force in his own right. His arrangements were rich with texture and emotional nuance, effortlessly weaving jazz, Latin, and traditional flamenco influences. Whether playing guitar or singing, Isaí exudes quiet authority—his voice warm and earthy, his presence centered and magnetic. His duet with José was particularly striking: a moment of musical intimacy that seemed to suspend time.
Percussionist Anthony “Nocelotl” Hampton deserves special mention for his vital role in shaping the ensemble’s rhythm. His sensitive and intuitive playing on the cajón and hand percussion anchored the dancers and enhanced the musical dialogue. With a background in ethnomusicology and global rhythms, Tony brought a sophisticated, dynamic touch that elevated the performance beyond expectation.
From the playful “Paseando por La Habana (Guajiras)” danced by Bianca Rodriguez, to Celia’s soulful interpretation of Alejandro Sanz’s “Cái,” each piece brought a new layer of the flamenco tradition to life. And yet, throughout the evening, the ensemble maintained a cohesive voice—one that honored the roots of flamenco while embracing its evolution.
Presented with care and artistic integrity by the Westminster Concert Series team—Kimi Kawashima (Director), David Martin (Music Production Coordinator), Austin Ray (Lighting Designer), and Devin Maxwell (Director of Music Technology and Composition)—the technical elements of the show never overshadowed the art. Instead, lighting, sound, and staging deepened the emotional atmosphere, creating an immersive experience for the audience.
If flamenco is the voice of the soul, then A’lante Flamenco sings it loud and clear.
Accessibility & Admission Info:
General Admission is $20, while admission is free for K–12 and local university students with valid ID—an outstanding opportunity to expose younger audiences to world-class flamenco. A post-show reception in the Dumke Theatre Lobby followed each performance, offering attendees the chance to meet the artists and engage more deeply with the flamenco community.
For more Accessibility Info go to:
Location:
Westminster Performing Arts Center
1724 S 1300 E, Salt Lake City, UT 84105
Free parking is available adjacent to the venue in the campus parking structure.
For tickets and more information, visit: https://westminsteru.edu/tickets
Or contact: (801) 832-2457 | performingarts@westminsteru.eduWith support from the National Endowment for the Arts and Texas Commission on the Arts, A’lante Flamenco continues to be a cultural force on the national stage—and this weekend’s performances at Westminster only confirmed their place as one of the most dynamic flamenco ensembles performing today.
Directions: Go to https://westminsteru.edu/student-life/events-and-performances/performing-arts-events/performing-arts-visitor-information.html
About the Authors
Professor Sam Bryson is the Director of Percussion Studies at Weber State University and a recipient of the 2025 Presidential Teaching Excellence Award. He holds an MFA in Percussion Performance from Northern Arizona University, he has a demonstrated history of leadership in music education, conducting symphonic, marching, and pep bands as well as percussion ensembles. Bryson is known for his impactful teaching, student mentorship, and contributions to nonprofit organizations, instructional design, and music research.
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