Leeds Flamenco Pena

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In a limited engagement at Joe’s Pub, this excellent Madrid troupe accomplishes much in a fretfully short time.

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Sad to say, there wasn’t a dark force within miles of María Pagés’s “Self Portrait.”

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If ever a troupe deserved a do-over for its New York debut, this is it: disastrous sound quality robbed the company of the immediacy and texture of its flamenco on Wednesday.

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I can think of no current ballet dancer in the world as marvelous as Noche Flamenca’s Soledad Barrio.

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A place where flamenco dancers, gypsy street performers and Andalusian cowboys in wide-brimmed boleros still strut in 2,000-year-old plazas shaded by orange trees and palms.

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Like very high priestesses of separate and ancient religious cults, the dance soloists Pilar Rioja and Roxane D’Orléans Juste have come together to share a program, “2 Styles, 1 Passion,” at Repertorio Español.

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Taken at face value, the jam session following the performance of Osvaldo Golijov’s “Pasión Según San Marcos,” was a high-energy concert of mostly Latin American pop, with European and American undercurrents as well, in the form of flamenco, jazz and electronic music.

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Flamenco artists have to battle with the conundrum of choreographing spontaneity and reliably evoking the heat and passion that audiences love.

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The best parts of the young Gitano guitarist Niño Josele's set at the Village Vanguard weren’t much like flamenco, and they weren’t much like jazz either. And this was very good.

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The Spanish singer Martirio has created a semisatiric princess-of-darkness persona that isn’t hard for outsiders to understand.