Fortunately, singer Ismael Fernández and dancer Jose Manuel Flores Macías provided a steadier connection to the Gypsy source. Fernández, perhaps the program's most charismatic performer, overlaid jazz harmonics with an edgy but authentic flamenco style.
Flores Macías, impeccably schooled in the form's strictly accented rhythmic phrases, adapted well to the pulsations of jazz, relying on upper-body fluidity in the opening "Cautivo de Mi Destino," whose configurations limited the footwork that is usually the meat of a dancer's interpretation.
But he gave an explosive display in "Invocación," a composition quoting more explicitly from flamenco.
Flores Macías returned in "Anhelo de Tus Besos," a joyous finale that showcased the entire ensemble to stunning effect. In a memorable sequence, Maldonado's tinkling high notes played off the dancer's rhythms.
Later, Flores Macías stamped his cadences "a palo seco," that is, accompanied only by the clapping of the other four men. This was flamenco distilled to its essence, sober and enthralling.
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