Corola Goya: in her colorful and alluring recitals of Spanish dances

              SENORITA GOYA, recently returned from Europe, is in midst of her third triumphant American tour.



JAMES B. POND 
presents the Incomparable
 CAROLA GOYA in her colorful and alluring recitals of SPANISH DANCES 
Classical Flamenco Gitano Modern



Until one has seen Carola Goya he cannot know what a thing of beauty and joy Spanish dancing can be.


London Observer



Figure

Senorita Goya dancing The Fandanguillo Gitano




This bewitching daughter of Spain danced her way into all hearts.—


Ottowa (Ont.) Citizen.






Greatest individual dancing attraction before the American public today.


Figure




CAROLA GOYA brings to this country Spanish dances in all their native beauty and pristine purity.  Each of her numbers, except certain ones of her own creation to the music of modern Spanish composers, is a classical, flamenco or folk dance whose steps and rhythm have been familiar in Spain for generations.  In costume, in form and in mood Senorita Goya's dances reflect the life, the traditions and the art of the Iberian peninsula.  La Libertad of Madrid expressed this fact most aptly when it said:  
Carola Goya's dances are of extraordinary beauty, color and rhythm, and in the finest spirit of the traditional Spanish dance, which, all too unfortunately, is dying out even in Spain.  She has caused a genuine sensation.




This probably explains the remarkable success of this beautiful young artist in London, New York and other cities.  During her first season here she gave eighteen recitals, alone and with assisting artists, in New York City—an unprecedented record, her audience increasing in size with each performance.  Her season's farewell found the vast auditorium of Carnegie Hall filled to overflowing with an enthusiastic multitude.




Senorita Goya's London engagements during the previous season were equally sensational.  Not only did she have extended appearances at the Coliseum and Alhambra Theatres but she was chosen to dance at a charity function under patronage of Her Royal Highness, the Duchess of York, in the Great Hall of the ancient Middle Temple, being the only dancer to perform in this Hall since the days of Queen Elizabeth.  Also Senorita Goya represented Spain at the International Garden party given by the League of Nations Union under sponsorship of Viscount Cecil at Hampstead Heath and was hailed in the London press next day as 
Spain's beautiful propagandist of Peace.
  Other notable appearances in London were a recital at Steiner Hall and invitation performance at Runnymeade House and at the Royal Academy of Music, each under distinguished patronage.




Each Spanish province and city has dances entirely its own, and those on Senorita Goya's programs are peculiarly characteristic of the sections to which they are native—the wild jota of Aragon, the whirling and playful Asturiana of Asturia, the stately Fandanguillo of Ronda, the courtly Espania Mia of Castile, and various fiery and languorous dances of Andalucia, such as the Bulerias-Del Rocia, the Alegrias-Solea, the Tango Trianera, the Tango Giralda, the Farruca Divina, Del Sacro Monte, De La Vega Granadina and Andalucia Gitana.




The Andalucian dances are strictly of the Gypsy and Flamenco types—dances which may be said to have sprung from the hot, romantic soil and radiant moonlight of Southern Spain.




Senorita Goya also offers several numbers of her own creation to music by modern Spanish composers—
Cordoba
, 
Mariposa
 and 
Seguidilla
 by Abeniz, 
La Vida Breve
 and 
Ritual Fire Dance
 by DeFalla and 
Rondolla Aragonesa
 and 
Andalouse
 by Granados, the steps and figures for all these, however, being drawn from the inexhaustible store of traditional Spanish dances.






Senorita Goya's costumes are revelations of originality in color and design.





THE UNANIMOUS NEW YORK PRESS



La Goya revealed a castanet technique worthy of any virtuoso.—


New York Sun.




Senorita Goya with her galaxy of bright costumes and her vivid dramatization of moods was a tonic for the eyes.  Hers is a delightful art combining poetic movement, ravishing coquetry and the exhilarating throb of life in youth. To see her is to gain a new realization of the beauty of the Spanish dance.—


New York American.


Figure




It was a stimulating entertainment and there was no sag in tempo or temperament to the final curtain…  Faultless rhythm, swift pace, lithe body curving in natural line with the music, and above all, the ceaseless and marvelously adept clicking of castanets…  Changes were effected with negligible delay and a procession of Jotas, Fandangos, Tangos, Garrotins and Bulerias passed easily and speedily across the stage in a riot of color.  Senorita Goya is young, exceedingly pretty, and in her work may be studied the dances of Andalusia as they really are, unembellished and not tricked out for the foreign trade.—


New York Herald Tribune.




Carola Goya brings back to dancing the wind blown gaiety which in our day of hurricane and tornado stepping it has tended to lose.  What is infinitely delightful about this young Spaniard is that she appears to take such joy in her own performance.  She catches and holds the spring time mood of surging vitality.  It helps no end that she wears on her lithe and lovely person the most enchanting costumes that a bold and yet discreet imagination ever conceived.—


New York Journal of Commerce.




The rhythms and steps of Miss Goya's dances in themselves allow of much variation, and the exquisiteness of her costumes contributes in no small degree to her hold upon her audiences.  But her gorgeous gowns would lose much of their effectiveness were they not graced and enhanced by a provocative smile, extreme youth and a body that even in repose would suggest impetuousness and spontaneity, and all the radiance and love of loving that Spanish gaiety and coquetry symbolize.—


New York Graphic.




Senorita Goya's charm lies in her romantic personality, dramatic grasp of a composition and intelligent feeling for rhythm.  She has a splendid body and a lively temperament.  She looked like an enchantress in some jasmin scented garden in Spain—a dangerous figure in the moonlight.  I also greatly enjoyed her 'Fado'—the dance of a Portuguese fisher girl—and 'Mi Negrita,' a Cuban number, which she performed with such taste and fire she was asked to repeat them.—


Musical America.




Senorita Goya showed herself possessed of an exceeding and well-disciplined talent, following in her dancing the highest Spanish ideals, both in form and tradition.  Passion, sweetness, enchantment, coquetry and a fleeting cruelty passed in rapid succession.  There were both deep emotion and something like the light tumult of playful youth in her interpretations which, for an artist so young, produced an impression of extraordinary perfection.  Her costumes were appropriate for each dance and she accompanied herself with castanets in the manner of a true daughter of the land bathed by the Guadalquiver.—


La Prensa
 (Spanish Daily of New York)




A program of fourteen dances running the gamut of feminine emotion from joyous abandon to tragic despair.







The audience responded quickly to the privilege of seeing so great an artist.—


Pittsburgh Post-Gazette.





EUROPEAN ACCLAIM



MANUEL DEL CASTILLO OTERO of Seville, greatest living authority on the Spanish dance, said:



Figure





Carola Goya gives the true essence of the Spanish dance.  All of her dances are absolutely authentic in form and expression.  She is taking to other countries the Spanish dance as it really is.



Goya has beauty that will ever live in our memory.  She is tall and exquisitely slender.  Her face has wistful serenity, or it flashes fierce abandon as the mood of the dance demands.  She treads the classic measures of old Spain with impressive dignity or gives herself over completely to the wild spirit of folk dances.  Now and again she touches the sublime.—



London Era.




Carola Goya, a beautiful Spanish dancer new to London, is one of the special attractions at the Coliseum.  She begins her program in attire that recalls a famous Goya painting, and therafter[sic thereafter] changes her costume for each of many alluring dances native to certain Spanish provinces.  Her charm is as undeniable as it is rare.—


London Daily Telegraph.




Carola Goya, renowned in many countries as being the finest Spanish dancer of the time, made her first London appearance on this auspicious occasion (before the King and Queen of Afghanistan).  She made an unforgettable riot of color and whirl of movement as she danced in the national way of Spain-tangos, fandangos, jotas, garrotins and bulerias.—


London Daily Chronicle.




AUDITORIUM, MASONIC TEMPLE Monday, DECEMBER 7th, at 8 o'clock Admission:  75c, $1.00 and $1.50 Tickets at Jenkins' Music Store Send Mail Orders to C. B. Myers




Direction:
  The Pond Bureau, 25 West 43rd Street, New York City




Printed in U. S. A.