If you want to see real Spanish dancing, American Bolero Dance...gives it to you from A to Z"
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Reviews for Gabriela Granados

“Gabriela Granados’ breadth of experience was evident in Olé! Olé!, an exuberant and stylish program…a vivid, slyly observed overview of Spanish dance.  Ms. Granados’ stunning Soleá was a tour de force of shifting, building dynamics for this very musical dancer.”

Jennifer Dunning, The New York Times January 1998

New York, New York


“Gabriela Granados is astonishing.  An extremely attractive flamenco dancer, she also has impeccable classical technique, a wonderful comedic sense, and the ambition, energy and skill to guide the American Bolero Dance Company...Enviable versatility…  Granados brought down the house with her Soleá.”

Nancy Heller, Flamenco International Magazine January/March 2000

London, England


“...Besides being a virtuoso performer and a choreographer with an authenticity that is clearly evident, [Gabriela Granados] has conceived a production that is in extraordinarily good taste--beginning with the costumes she designed....”

Phyllis Goldman, Back Stage November 26/December 2, 1999

New York, New York


“No one in the fourteen-member cast outshined Gabriela Granados’ own radiance, beauty and easy command of craft and space.  She is a rare example these days, of a dancer whose elegant yet devilish femininity is heightened by her strong, emotional attack.”

Deirdre Towers, Dance Films Association, Inc. November 1999

New York, New York     


“The most familiar tune from Manuel de Falla’s La Vida Breve, is a dance…in the small center of the stage Ms. Granados manages large movements, some balletic in style.  She is flirtatious and determined, using the sound of her footwork as her voice.  Later…with complicated castanet rhythms she added more language to her song, from sweet to sultry, charming to challenging, using the music well.  Ms. Granados had about fifteen minutes of stage time in this hour-or-so-long production.  She has the talent to have outshone and the feet to have outsounded the production, but she is a gracious performer, and was the pearl in the center of an appealing evening.”

Madeleine Dale, Attitude Spring 2001

New York, New York


“Olé! Olé! to the American Bolero Dance Company!  Another Spanish dance company hits the New York stage with gusto!  Gabriela Granados’ production...was nothing less than spectacular...[Her] fiery Soleá was the height of daring theatricality.  Glorious in its outpouring of energetic dancing, Granados stage presence resonates with power and intricate detail...”

Eva Lopez, Attitude Spring/Summer 1998

New York, New York


“The American Bolero Dance Company, produced a gem of a show.  Spanish Gems began with Isaac Albéniz’s Sevilla.  The piece engagingly introduced classical and flamenco dance.  For Siete Canciones Populares Españolas by Manuel de Falla, Ms. Granados devised a series of playlets…effectively expressing the excruciating pain of love.  No one dances rage better than she…In Romeras, Ms. Granados was elegant and determined. Her arms were long and strong. She showed off her zapateo with clear tonality and increasing complexity.  Ms. Granados and Mr. Márquez…in…Viva Navarra!...was everything a jota should be -upbeat, lilting…Ms. Granados was sweet, even cute.  The show concluded with the company performing to Agustín Lara’s Granada.  These costumes could compete with anything Versaci creates for Joaquín Cortés.  Indeed, the piece had his kind of pace and pacing with everyone’s getting to show off.”

Madeleine Dale, Attitude Winter 2006

New York, New York


“Olé Olé Fin de Siglo…certainly made it tempting to shout ‘Olé’.  One of the virtues of this group is a desire to show the variety of Spanish dance.  A generous assortment of premieres revealed the company’s range.  The exquisite bolero styles of the late 18th and early 19th centuries, were presented by Ms. Granados’ Bolero a solo for herself, and Sevillanas Boleras, a group work.  Both were buoyant, and the dancers’ deft castanet playing had the polish of civilized epigrams.”

Jack Anderson, The New York Times November 1999

New York, New York


“La Vida Breve at Dicapo Opera…included dancer Gabriela Granados, who raised the temperature of the show about twenty degrees, and she never sang at all.  Her authenticity, passion and costumes were the best part of the opera.”

Susan Razavi, Alta Classica December 2000

Opera-L archives online


“...Gabriela is one of the most significant representatives of this dance genre, she preserves all the traditional styles of the Spanish dance while at the same time, opening new avenues with her creative choreographies in the world of contemporary flamenco.”

Athinorama  (newspaper) January 1999

Athens, Greece


“Granados puts pizzazz in Carmen.  Act II opened with Gabriela Granados and Andres Estevez doing a Spanish dance on top of a table in a tavern.  Everyone’s attention was drawn to these dancers.  Granados looked so young and beautiful -- perfect for the part.  Granados and Estevez were very precise and smooth in their movement, their partnership fitting together like puzzle pieces.  [In] Act III…Granados and Estevez opened with dancing that was more lyrical this time.  It was slow dancing, and I’ve never seen Spanish dancing like this before.  The pair was beautiful, and once again their interaction with each other appeared effortless.  It was like they were ice-skating.  This scene was my favorite.  Act IV opened with Granados performing a solo.  The music and dance grabbed my attention immediately; it had me moving in my seat.  There was a lot of energy again with those rhythmic taps of the feet and the castanets.  No doubt that it was Spanish, and it was dynamic!”

Melissa King, The Dance Insider March 2001

The Dance Insider Online, Flash Review


“The Sherman Chamber Ensemble once again outdid themselves…A few special guests usually join in…and dancer/choreographer Gabriela Granados basically stole the show with castanets, fan, and a straight back chair.  The anonymous flamenco folk tune Olé de la Curra featured Wiley performing a romantic guitar solo, with a cool crisp castanet accompaniment by Granados.  But this was just a teaser for her Fandango routine in Quintet in D Major by Luigi Boccherini.  My attention has never been so diverted from the SCE music, as the dance dominatrix captured the spotlight in the closing number.  From head to toe, her every movement was measured and magnificent. OLE!”

Jan Stribula, News-Times October 2007

Pawling, Connecticut


“The party scenes inTraviata...glitter with visual effect and throb with well-choreographed activity.  Dancer Gabriela Granados’ stylized flamenco and the bawdy cancan of Flora Bervoix...stand out in the whirl of movement and swirl of color in...superbly staged choral scenes.”

Clark Bustard, Richmond Times-Dispatch 1994

Richmond, Virginia


“Gabriela Granados vibrates with dance.  Her body molded by infinite interpretations, is all rhythm from the fingers that draws figures in the air to the feet that pull up tapping, pirouettes, turns and steps.  The audience turned mad asking for more and more.”

Elvira de Gálvez, El Comercio  (newspaper) 1989

Lima, Perú


“The best dance segments are Taranto, performed by Marisol Moreno, and Soleá, performed by Gabriela Granados.  In each of these dances, the focus is on the wonderful, intricate footwork that characterizes good flamenco.  OLE! OLE! Fin de Siglo is a marvelous showcase for American Bolero Dance Company.  A spirited, energetic troupe, led by the marvelous dancer, Gabriela Granados, they will not dissapoint.”

Kessa De Santis, Electronic Link Journey November 1999

New York, New York


“The Sevillanas Boleras…a courtly Goyesque cartoon…and the Bolero, choreographed by Ms. Granados, were visual treats in magnificent jeweltone costumes…The leaping, lilting Bolero was deftly performed with castanets by a coquettish Ms. Granados…Her years of ballet training were apparent…[In] Soleá, by La Tati, it showed how well Ms. Granados executes, rhythm and the timing of holds.  Her footwork was dynamic and her markings unusually sexy.  She ended with what may become her trademark pose, one arm up with the bata curled around her.”

Madeleine Dale, Attitude Summer 2000

New York, New York


“Local Flamenco artists have been knocking audiences out of their sillas this season in New York.  Gabriela Granados inaugurated a first Friday of the month “Tablao Flamenco” in Astoria (Queens) at the Centro Español…The pieces to die for were two.  One was the Granaína by Alfonso Mogaburo Cid…The second was the star’s Soleá…I’ve seen this La Tati choreography before, and on Ms. Granados it works perfectly - or rather she works it perfectly.  From earlier wistfully romantic stormy interpretations …Ms. Granados has moved on.  This evening we witnessed her maturity, expressed in a furiously raging thunderstorm of intention with an ever more deeply pained face, as she squirreled into the ground in weighted curls…”

Madeleine Dale, Attitude Winter 2009

New York, New York