Inesita, a remembrance of her art …

Anice Stahl was born (1921-2024) into a musical family; her parents were musicians born in New York, William Stahl an orchestra conductor-composer, and his wife concert pianist, Minnie Edelstein. Both fell head over heels for each other and three months after marriage Minnie was pregnant with their only child. Edelstein wasted no time and taught her daughter how to play the piano, so as a young student Anice played alongside her father for a few years before Spanish dance became her primary focus.

Willy Stahl now working at Paramount Hollywood Studios was friends with movie conductor Hugo Riesenfeld, whose daughter was Spanish dancer Janet Riesenfeld, aka Janet Alcoriza and later known as movie actress Raquel Rojas. The young impressionable Anice studied briefly with Janet, it was Janet who recommended Michael Brigante circa 1936, a teacher of ballet and Spanish dance. Anice spent just over two years with Brigante. In 1937 she studied briefly with ballet dancer Carmelita Maracci but later preferred Mexican Spanish dancer Jose Fernandez.

After almost four years of Spanish dance study between Brigante and Fernandez Anice’s first professional dance engagement was at Casa La Golondrina Café on Olvera Street in Los Angeles. A family friend recommended Anice to an office employee at the L.E. Behymer talent office who contacted La Golondrina. After two failed attempts to make an appointment to audition for the owner, Ms. Consuelo de Bonzo, now face to face, she finally granted them some time. “My Mother and I went in person to see Ms. De Bonzo, she was on the way out the door for an appointment, seeing us in person she finally relented to sit for a few minutes. My Mother sat at the piano and played a Paso Doble for me to dance,” recalled Anice. With that one dance Consuelo de Bonzo agreed to hire the young dancer. It was Bonzo who baptized the young dancer with the stage name Inesita. It was the closest name she could associate with Anice. “I made my Golondrina debut on October 7, 1939, making $15 then $20 a week,” reminisced Inesita.

Our young California dancer worked as a dance soloist throughout her career, but she managed to dance at major venues within the United States, Mexico, and Europe. Inesita later studied in Spain with major dance teachers whose artistry helped cement her talent as a major dance force within the American dance scene. She made her New York debut in 1954 at the YMHA, and was personally invited back several more times by Director Dr. William Kolodney. It was in New York where she recorded a solo LP dance record, and Ted Shawn sat mesmerized by Inesita’s dancing. Then came the Brooklyn Academy of Music and Shawn wasted no time and invited Inesita to perform at Jacob’s Pillow twice in 1954 and 1962. “The elegance and purity of line, her exact movements, and particularly her heelwork are amazing. One cannot help having the feeling that she lives every piece she presents, with her face as alive as her entire body,” Walter Sorell.

Inesita spent seven months in Paris at the Le Catalan Flamenco Nightclub (Tablao), and she developed a local name for herself. However, she opted to leave the establishment to search for fame as a solo artist. A few opportunities would inspire this craving, she gave solo concerts at the American Artist’s Center in Paris. Then Inesita toured within Europe for two-years in solo dance concerts in London, Paris, Spain, and Malta. Later she returned to New York for a second set of solo concert appearances.

Considered primarily a neo-classical dancer, Inesita played beautiful castanets with highly skilled flamenco footwork. Inesita mastered a brilliant dance method showcasing the dance style so prevalent in the last century. For any dancer looking for The Golden Age of Spanish Dance, Inesita was our last known link to its history. Her work can still be seen in the Hollywood films Skyline Serenade, Tropical Masquerade, Footlight Varieties, and Here Come the Girls starring Bob Hope. The master comedian soon after invited Inesita to appear twice on his television show as did singer actor Ray Anthony.

Inesita remained unrecognized to large audiences mostly because she toured on her own as a soloist hiring singers, pianists, and guitarists as needed. She never established a touring ensemble but spent the last twelve years of her career inviting guest dancers to her solo concerts. She became my teacher in 1971 and occasional dance partner, and remained a driving force in my life until her last concert during her centennial year. We had some wonderful moments during these last few months recalling her career and our anecdotes. I will miss you …

Michael Miguel Bernal, Legends of Spanish and Flamenco Dance.   

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