Spain's Compañia Talent Danza Ballet Español presented some authentic, passionate music and dance in Tango Flamenco at Music Hall in Over-the-Rhine on October 22. Frustratingly, the show got off to a very late start, 8:30 p.m., due to the longest lines I've ever seen for both last-minute ticket purchasing and will call. But judging by the audience's favorable response, it was worth the wait.

Where the production succeeded the most was in evoking the heady atmosphere of an exotic locale. Many times I felt swept away by the staccato rhythms pouring from heels and castanets, the ladies in gorgeous gowns with fringed shawls and the forceful strumming of the Spanish-style guitar. The dancers displayed pride and strength in their bold and clean movements. Even the most intricate wrist rotations carried weight and drama. In a word, they had presence.

Artistic director/choreographer Antonio Najarro has mastered the art of presence, as revealed in his graceful, yet potent flamenco solo. I recall being struck by how he could appear so feral and smooth in his movements, yet retain such undeniably masculine (or dare I say "macho"?) qualities.

Choreographically speaking, the finest pieces were the solos and duets. The larger group dances seemed to rely more heavily on visuals, such as sexy costumes and unison formations, than on elaborate choreographic patterns. In rare moments, a couple of sections bordered on appearing basic and a little contrived. Early on, the deep purple and other spare lighting shrouded the dancing a bit too heavily with the black costumes against a black scrim.

Still, costumes used as props were maximized to grand effect.

A striking example was a duet that began as a solo. This more contemporary piece (touching on the spirit of Martha Graham) featured a woman wearing a light greenish dress with a long train -- as in maybe 15 or 20 feet long! She managed to dance beautifully in it, swirling it in the air around her, gathering it frantically, then hurling it away, even rolling herself completely up in it on the floor. When her male partner arrived on the scene, she wrapped him up in it, too; the pair created original, larger-than-life amorphous forms. Unexpectedly, she began audibly sobbing near the end of the piece.

In spite of its title, the show featured far more flamenco than tango. The tango segments captured the sexual tension and elegance of the dance, but I was disappointed not to see more of the intricate, tangling footwork that characterizes Argentine tango.

Spellbinding vocalist (and sometime dancer) Sonia Cortés conveyed visceral emotion with her voice. At times, her raw, yet achingly exquisite vocals seemed as if they were being torn from her soul. She proved herself a captivating dancer when she unexpectedly rose from her chair and moved with her large shadow cast in the background to the lone guitar's intoxicating melody.

As a delightful bonus, music played a far more central role than I had imagined. Perhaps this owes to the fact that the show was predominantly billed as a dance production. Providing far more than just accompaniment, the virtuoso musicians demonstrated not only extraordinary talent and skill, but also blatant passion.

I found the program's structure of alternating songs with and without dancers to be effective; it lent a feeling of anticipation. I enjoyed the live music on its own, but I could look forward to the dancers' return to the stage.

Overall, Tango Flamenco delivered more musical and visual style than dance substance. But it was still a pleasurable evening and a rare occasion to see and hear flamenco -- with a little tango -- locally. Grade: B+