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DIARIO DE SEVILLA. 30/1/2009. Juan Vergillos.
“…La Moneta has gained access to the club of the privileged, and by that I mean this handful of artists capable of making us shiver down the spine…”

ABC. 1/2/2009. Alberto García Reyes.
“…When she danced the seguiriya, the effect was a constant flame leading to pure fire, and a helpful hand to get El Extremeño out of the cave of Sevillian oblivion…”

EL MUNDO. 31/1/2009. Manuel Martín Martín.
“…La Moneta is destined to reach glory. She confronts her dance with plain humility, without vain décor, and solves stage problems like a cyclone. She does so with such ease that one cannot but allow oneself to be swept away by her energy, her talent and her dreams; the inner world of an artist leading to the miracle of a glorious finale…”

LA VOZ. 6/3/2009. Antonio Conde.
“…She vanishes between the sheets whilst giving away the crystalline purity of a dance that irradiates a shaking tremor.
Her face shoots meaningful random looks. The fan is sustained in the guajira, the warm Cuban rhythm is imposed upon. When the farruca comes on stage, the dancing rhythm seizes her. A glimpse of Carmen Amaya seems to take shape around her. She wins the battle against the dancing forces dressed in trousers and a bare back. Her roots get tangled up with the motion of a heavy loaded flamenco…”

DIARIO DE JEREZ. 6/3/2009. Francisco Sánchez Múgica.
“…I like how La Moneta dances. Her changes of rhythm, her clever combination of climax and anticlimax, the up and downs of her rollercoaster-like dancing. I value her dramatic capacity and, specially, the way she fully masters her body from head to shoulders, from waist to naked toes. I admire that latent temperament she embraces; that expressive force she holds, like a geyser at the point of eruption; the way she exudes fire when she lifts her nightdress up. I love the way Fuensanta moves. Delicate and sensual, thoughtful and silent, racial and explosive. I just like the way she dances…”

SALZBURGER NACHRICHTEN. 9/3/2009. Karl Harb
“…This flamenco night with La Moneta, passion and soul, together with her accompanying singers and guitar players, awoke in us a strong desire to discover flamenco in more depth …” “…Fuensanta and her accompanying group represent pure force and truth of flamenco…”

EL PAIS.COM. 12/3/2009. Ángeles Castellano
“…Dressed in a plain white nightdress for most of the performance, La Moneta masters the stage with her dance. She proficiently uses the space and knows where to place herself…”
“…With strength, listening to the sound of silence, placing her arms and making space for her heel tapping, La Moneta pretends to be a bull fighter with her dancing, daring, far from showing off, just in place…”

LA RAZÓN. 15/3/2009. Balbino Gutiérrez
“…75 minutes of authentic dancing display with no more breaks than a few moments of silence, this also being part of the dance. She was the performance, accompanied by a supporting efficient group and the beautifully adecuate singing of the Malaga born Eva Durán. Artistically brought up in the Granadine Sacromonte, Fuensanta renders homage to the first half of her name, “fuente” (source), because she is an authentic source of dancing style. Rooted, sensual, synthetic dancing – for she fine tunes the racial excess and adds evolved artistic elements…”

ABC. 17/3/2009. Manuel Ríos Ruiz
“…She masters her stylistic knowledge to perfection, foregrounding her signature on each flamenco style. La Moneta develops a complex programme in ‘Entre la luna y los hombres’. From the very beginning, in the scene ‘Cal’, she displays her quality and knowledge in the malagueña, rondeña and jabera styles. Then she brings forward a singular guajira under the name of ‘Perdedora’, followed by a taranta style, which gives name to the play; making way to a farruca, ‘Sueños’, a true personification. Finally, La Moneta excels herself with her temperament and her natural born depth through soleares, bulerías and siguiriya styles. The Granada born dancer is a true rooted artist, inspired in the immortal aura of Carmen Amaya, who foregrounds her devotion and the love for her artistic intent…”

LA VERDAD. MURCIA. 28/3/2009. Patricio Peñalver
“…She came into stage very slowly, fitted in a black dress with a long train and pink backstitches, and performed a magnificent granaina dance… then a solea, and La Moneta came back slowly showing a superb mastering of the beat from the very beginning, with a deep expressive character…”


Press 2009

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