Sat. Nov. 4 & 18

       Every other weekend as scheduled


11 to 12PM - Technique I - All Levels.

12 PM to 1PM  - Combinations Technique & Alegrias - Int/Adv Levels

1PM to 2PM - Rehearsal/Other Palos & Castanets - Int/Adv



Patricia Ann Studios
Home of Casa Flamenca
1260 Friar Tuck Lane. Dunedin, Florida

With guitarists
Tony Arnold, Nicholas Schieber, and Roberto Verdi

Cajon players and palmeros welcome - You must RSVP to

1 hour technique $25, 

2 hours with choreography $45,

3 hours when scheduled $65

Private classes are limited, $100 per hour per person



Irene Rimer, international Flamenco performer and master instructor, has been teaching Flamenco in the US since 1995. She started teaching in Miami, at the Irene Rimer Dance Academy where students had the privilege of performing at recitals with professional Flamenco artists in genuine “tablao” settings.

In 2005, Irene moved to Birmingham, Alabama, and continued teaching. There, she founded the troupe, Corazon Flamenco; the only professional Flamenco group in the area. Irene brought Flamenco guitarist Manolo Vargas from Seville, with whom she had previously worked extensively, to play at several professional performances such as “Flamenco, Blood Wedding” and “Noche Flamenca” at Workplay. Numerous professionals and invited guests also performed with the troupe at local recitals such as “Love, The Magician,” and “Universal Flamenco,” presented at the Virginia Samford Theatre. Irene choreographed for the Birmingham Opera in which she also performed with Corazon Flamenco in “La Traviata” at the Alabama Theatre with soprano Susanna Phillips. Irene lectured about Flamenco, and performed with selected members of the troupe, at UAB in Birmingham, University of North Alabama in Florence, and A&M University in Huntsville to name a few venues. Irene Rimer also taught and performed at the Alabama Dance Festival at the BJCC, and was a member of the Alabama Dance Council.

In 2014, Irene Rimer relocated to the Tampa Bay area and currently teaches in Dunedin and Charlotte Harbor. Guitarist Tony Arnold, also a member of Corazon Flamenco, had been travelling from Tallahassee, Florida, to Birmingham, AL, to play at the workshops taught by Irene. He performed with the group, and when Irene moved, he decided to buy a home, and relocate with his wife, Jill, to Dunedin. Guitarist Roberto Verdi followed the troupe members, and also relocated to the Tampa Bay area; and so the troupe continues together offering genuine Flamenco performances and lectures on Flamenco.

The troupe continues to work under the name of Irene Rimer CORAZON FLAMENCO. Our home is now in Florida with the name of Casa Flamenca (Flamenco home.)The main goal of the troupe is to offer genuine Flamenco performances, and educative lectures on the mysterious ancient roots of this art-form; its benefits, and numerical rhythmic patterns. 

To book a performance, lecture, or master class, please contact Irene at at least a month in advance.

Dunedin Workshops


By Michael Huebner | Email the author | Follow on Twitter on October 20, 2013 at 1:30 PM, updated October 20, 2013 at 1:31 PM

Corazon Flamenco: "Bottle Dance"

BIRMINGHAM, Alabama -- Flamenco, its influences, spectacle and origins, were center stage Saturday at Virginia Samford Theatre, as Corazon Flamenco traced "The Art of the Gypsies." Company director Irene Rimer gathered family, friends and artists from Birmingham and far beyond to tell the story of the art form that has consumed so much of her life. As the program's title, "Universal Flamenco," suggested, the dance and music that originated in 18th century Andalusia has evolved to become the world's property. The titled also mirrored Rimer's recently published method book on the subject, which was dedicated to her father, who was in attendance.

CORAZON FLAMENCO: "Universal Flamenco: The Art of the Gypsies"

With Tango Elegante, Devyani Dance Company, Aziza of Birmingham, guest artists

Saturday, Virginia Samford Theatre

To illustrate in dance, the program started out with Tango Elegante, a group of five couples dipping, sliding, backbending and turning to the syncopations of Argentine tango music. Connecting to Flamenco's Middle Eastern origins, belly dancers from Devyani Dance Company bared midriffs and swayed sensually while clanging hand percussion in rhythm. Eight members of Aziza of Birmingham, twirling bright shawls, captured the joy of belly dance in formation. Each brought similarity and contrast to modern flamenco.

The main show unfolded as a two-part catalog of flamenco music and dance – Sevillanas, Farruca, Alegrias, Siguiriyas and the like. Most of the virtuosity came in the second part. Exquisite guitar solos from Roberto Verdi and Tony Arnold were interspersed among Spanish songs, sung by Antonio Cabello, Lucia, of Valdemar and Lucia, and Rimer herself. Among the standouts were Cathy de Sol's "Solea," a pounding tour de force done in a bright red gown, the dancer's stern looks and lightning-speed heel-to-toe rhythms reaching to the essence of flamenco dance. Rimer's "Tientos" matched de Sol's virtuosity stomp for stomp, movement for movement, making clear the loyalty she has garnered in her seven years as Corazon Flamenco's leader. But flamenco isn't all stomping and attitude. Juan Torres displayed grand lyricism and elegance in a classic "Alegrias." Victoria Langdon's demure demeanor turned to fancy footwork in the Cuban "Guajiras," an example of flamenco diaspora. The quick-paced "Bulerias," danced by the entire ensemble, brought the concerto to a rousing, uplifting close. Flamenco's rich history, technique, diaspora and beauty were vividly displayed at this event. Rimer's efforts have added vibrancy to Birmingham's growing cultural diversity, and she should be applauded for that.


First Impression: Opera Birmingham, Verdi's "La Traviata"PrintEmail
[Michael Huebner |] By Michael Huebner

on March 20, 2009 at 11:54 PM, updated March 21, 2009 at 1:31 PM

Opera fans crowded into the Alabama Theatre Friday to hear a young Alabama diva in her Opera Birmingham debut.OPERA BIRMINGHAM/JEFF TOMBRELLOSoprano Susanna Phillips as Violetta in Opera Birmingham's production of "La Traviata."
Susanna Phillips' first performance as Violetta in Verdi's "La Traviata" revealed a soprano whose star is clearly on the rise. After working through some rough-hewn coloratura passages in Act 1, the Huntsville native settled confidently into the role, both vocally and dramatically. She forged a strong vocal partnership with the robust-voice baritone Louis Otey in an extended Act 2 duet, and affectingly portrayed the dying courtesan in the Act 3 aria, "Addio del passato."

Dancers from Corazon Flamenco added a Gypsy flavor in Act 3, aided by the well-trained Opera Birmingham Chorus.


By Michael Huebner |
Email the author | Follow on Twitter
on September 27, 2009 at 11:54 AM, updated September 27, 2009 at 12:51 PM

Carlos Lencina and Irene Rimer in Corazon Flamenco's "El Amor Brujo"

Four stars out of five


"El Amor Brujo" Saturday Levite Jewish Community Center Repeats Sunday at 2 p.m.

By definition, flamenco encompasses dance, drama and music. With "El Amor Brujo" ("Love, the Magician"), the Birmingham troupe Corazon Flamenco has stayed true to the genre's multi-genre, Andalusian roots.

Led by its talented director, Irene Rimer, the company made an impressive showing Saturday at Levite Jewish Community Center with this tale of steamy romance, murder and ghostly apparitions.

Based roughly on the ballet of the same title by Manuel de Falla, it contains snatches of recorded orchestral music and narrative dialogue to push the action along. Rimer's brilliant choreography served the drama well, but spoken exchanges were weak. Scenes such as Jose's murder and a meeting with a witch were stilted and needed more coaching. They were rescued only by the dance numbers that followed. Scene changes, some with awkward silence and darkness, needed tightening.

Guitarist and singer Marija Temo impressed on several occasions as she heightened the action and filled interludes. A classical guitarist and orchestral soloist as well as a flamenco expert, Temo possesses immaculate technique and an expressive, penetrating voice. Her accompaniments of Rimer's dance solos were the most memorable parts of the show. Guitarist Tony Arnold, also a paleontology professor at Florida State University, contributed some beautiful solos and duets.

Like classical ballet, flamenco is mostly about dance. Rimer's choreographic vision thrives on the frenetic stomping and complex heel-to-toe rhythms that drive this centuries-old art form. Ensemble numbers carried out by her well-trained troupe generated a whirlwind of flowing colorful costumes and coordinated movements. Solo numbers, especially those by Rimer and Julia Quijano, combined passion with spectacle. Fine performances were also turned by Carlos Lencina, as Jose, and Cole Companion, as Carmelo.

Together with last year's production of "Blood Wedding" and "El Amor Brujo," Corazon Flamenco has staged two ballets that filmmaker Carlos Saura tackled in his trilogy of flamenco-inspired dance films. Only "Carmen" remains. If the company is so inclined, it would be a welcome completion of the cycle.


Corazon Flamenco does well by its namesake in 'Blood Wedding
[Michael Huebner |] By Michael Huebner |

on August 16, 2008 at 10:02 PM, updated August 16, 2008 at 10:11 PM
Colorful, swirling dresses, pounding heels, vibrant guitar strumming and passionate singing announced Saturday that flamenco in Birmingham is here to stay.

Corazon Flamenco, the fledgling ensemble formed here last year by Irene Rimer, staged an ambitious production of Federico Garcia Lorca's passionate play, "Blood Wedding," set to mostly new choreography, spoken dialogue to move the plot along and live music led by Manolo Vargas' masterful vocals and guitar playing.

At times, the daunting challenge of weaving music, dance and theater into a coherent production of a 20th century masterpiece proved more than this mostly non-professional ensemble could handle, but they should be applauded for this taking on this brave venture.

The dancers represented their namesake's genre splendidly, at the same conveying some of Spain's most colorful classical and folk dances. Dense with dance numbers from solos to octets, the show reflected Rimer's disciplined coaching and her own extensive background. Six young children got into the act, nicely stepping and kicking in flamenco style in the wedding scene.

Understandably, the group still has some weaknesses. In large ensemble pieces, the synchronization of steps demanded by the kinetic flamenco rhythms often became a percussive jumble, and some of the drama fell victim to weak vocal projection. But the thrust of Garcia Lorca's plot about a bride who falls for a former lover on her wedding day, was clear and concise. As the bride, Rimer danced and acted brilliantly. She was swept away passionately by Leonardo, played convincingly by Carlos Lencina. Fine performances were turned in Julia Quijano and Victoria Langdon, whose dance skills melded nicely with their vivid face and body language.

Much of the play's message seemed lost on some of the audience at WorkPlay, whose untimely laughter often interrupted some dramatic moments and loud talking nearly drowned out Vargas' finest guitar solo. Corazon Flamenco is shaping up to be fine company, deserving of a more appropriate -- and less smoke-filled -- venue.

9th House Metaphysics   Dr. Irene Rimer, Ph.D.

A strong & collected mind, a loving heart, and a healthy body