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VOLANDOVENGO BLOG 02/10/2015 Jorge Fernandez Bustos.

“…La Moneta? Wonderful, as always. I have been watching this artist for many years now, her suggestions and evolutions. It is my fortune to have her near and follow every step she takes. This work particularly, has been my pleasure to watch it since it premiered at the Bienal in Seville back in 2012, for four or three times, and it always changes and never disappoints. Sometimes you can get attracted to one part or another of it most, but the goosebumps that she gives with her complicity and commitment, they never fade away…”

PELLIZCO FLAMENCO 02/18/2015 Francisco Reina.

“…the dancer from Granada, despite her youth, has consolidated herself as a reference in flamenco dancing, showing her traditional side dancing malagueñas and farrucas, and accompanied by Javier Latorre for solea apolá dance, the master and the disciple – wearing white tailed gown- in a duet of art. After, El Pele singing seguiriyas and La Moneta in purple and black with castanets made all of us shiver. They performed masterpieces worth framing. Bless them…”

COLMAO 02/18/2015

La Moneta is not worth watching just for her pure flamenco dancing since the curtain rises until it lows, which it is true, but also for her commitment to each and every of the styles she performs. Her “step by step” is full of emotions, rage and improvisation, like a claim in pro of flamenco art.

One of the biggest moments, to watch her dance alongside her teacher Javier Latorre. But the climax of the night was set by her dance alongside the voice of El Pele singing tonás. It is truly harsh to write the feelings people felt that night, even myself. It was a mixture of the strength both the vocalist and the dancer have, the wisdom they both have on their insides.  The emotions flourished in their faces so the crowd, and even who signs this, felt it on their insides. Incredible singing and dancing it was!…”

GRANADAIFLAMENCO BLOG 02/19/2015 Antonio Conde.

“…three voices completed the cast of singers. Each one different, where flamenco is always the common factor. Miguel Lavi remembered the Black from the romance by Bernardo El Carpio. Juan Angel Tirado and Mati did the same traveling around the streets of Triana while singing soleares to Javier Latorre and La Moneta. I cannot remember a pas a deux more complete than the one they both together did; the elegance of Javier, the verticality of his body and arms are the true example of how to dance in the twenty first century “by a man”. Vicente Escudero previously left the door open for Javier to take the place and make flamenco even bigger.  And La Moneta, with tailed gown did her part feminine version…”

EL MUNDO 02/24/2015 Manuel Martin Martin

“…However is the guitar of Luis Mariano which reflects the bright in the dancer’s face. With it, La Moneta is completely honest, her true self and does not take any minute or rhythm for granted. And if she ever takes herself into dead end labyrinths is because there is no other way to express the truth and to let the pure air push her body for the rest of us to hear the whisper of her soul…”

DIARIO DE JEREZ 02/25/2015  Fran Pereira

“…A new wardrobe change again, well maintained by the way. The andalusian sound given by Luis Mariano whom beat is very clean and selected, pull us closer to some tientos azambrados, as the presentation clears out. Without any doubt was the high point of the night.

La Moneta took us back in time, challenged her own shape and knowledge. Is like going down a slope with a bicycle. Explosions of good taste, pure dance,  wisdom, fierce and fire… Truly delightful, a lesson that shows how to dance tientos-tangos…”.

IDEAL 03/24/2015 Jose Manuel Rojas.

“… a generous goddess who shows symbiosis with her singers, four gentlemen who share the polychromatic variety when it comes to vocal range. From Jerez to Poligono, making stops in Santa Fe and the Albayzin. Without giving any names each one of them are big performers and they grow up artistically alongside La Moneta, and so she does with them autobiographically and symbiotically leading us from genetic tangos to a type of bulerias which makes us go even more far away from the established canons. Obviously all of this accompanied by “El Cheyen” and his box drum. Ninety minutes of pure flamenco. An hour and a half of the democracy of flamenco, without unpleasant gestures or impositions. Only an assembly where an amateur wants to dance. Luckily that amateur is La Moneta, probably one of the best flamenco dancers in Spain. Probably…”

VOLANDOVENGO BLOG 03/25/2015 Jorge Fernandez Bustos.

“… I am fully exausted about her evolution, with her achievements whom, as a writer myself, adds to her work creating the perfect modeling. Step by step she introduces us to discover that path. Is an early compilation of the song of her dancing, of the story of her life because Fuensanta was born with the heels on her feet…”

lifetime, and even that seems low. Ovations and greetings on repeat again and again, because no one want a goodbye but an eternal dance form La Moneta, because she makes us feel proud, and she is a true Flemish showing the crowd things like these. Who was not there can feel jealousy, it is allowed because is a true luxury to feel your heart going little and is La Moneta is the one to blame, even better. Down to your feet, my lady…”


The ecstasy of La Moneta.

Starting big on Friday in Granada the “Encuentros Flamencos”  without any pompous or smell of red carpet, just with artistic arguments up on the stage and, arguments from a woman of earth who is universal: Fuensanta La Moneta. Outside the theatre, right after enjoying “Divino Amor Humano”, in some websites was heard that La Moneta had reinvented herself. Certainly, in my opinion the expression is mistaken; to reinvent itself means decadency, to be in a dead end. La Moneta is not in there. I would dare to point out that the dancer from Zaidín is in the highest top of her career, in “Divino Amor Humano”  she retakes some things she previously lived in “Entre La Luna y Los Hombres” but with a new and heavier weight up on her shoulder not only talking of choreography but also about life experience. A matureness that led her to impregnate herself with the work by Saint Theresa of Jesus and replace it in a field where, in my opinion, overtakes the limits of the characteristic duende. We are in front of a new visual art with a naïve mapping but protagonist of Diego Padin. Also we get to enjoy the music, in the widest sense of itself due to a multidisciplinary cast where names like Luis Mariano, Yorrick Troman or Paco Luque form a little orchestra capable of touring the crowd from a spiritual place to a terrestrial one, with stops in heaven, purgatory and hell. Senses and sensations put at the choreographical service of Fuensanta, who barely lefts the boards during “Divino Amor Humano”. In them she recites, is born and die but, as it is expected, most of all she dances. La Moneta dances alongside the violin, the electric guitar and the Spanish one, along the rhythm of Cristina Aguilera, Raimundo Benitez and the voice of Aroa Palomo. She dances malagueñas, mariana, petenera and soleá. But the most important thing is that she dances with everything she has lived, read and felt after reading the whole works by Saint Theresa. Words which turn into dancing, and dance turn into poetry. A torn apart heart that made all the crowd form the Isabel La Católica theatre to go up in ovations. Bravo for the priestess.


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