As the heir of the Spanish Baroque, whose theater and gesture he reduced to essentials, Goya makes sense as the seed for a Noche Flamenca show. The New York–Madrid troupe headlined by the unostentatiously soul-baring Soledad Barrio avoids the temptation to excess to which flamenco often succumbs. Sets consist of café chairs and maybe a bolt of fabric. The musicians and dancers are few enough to fit in a tavern, and beat out their passions unmiked. As for this season’s Bulls and Butterflies, no one will be acting out the paintings—or, rather, Goya’s subtle monochrome prints. In taking inspiration outside dance, director Martin Santangelo keeps in mind the particular powers of flamenco: the group charge, the interchange between arching, torquing body and ululating voice, and the relentless intricacy of the beat. If you cannot make it to Jacob’s Pillow, in the Berkshires, for the whole show, Joe’s Pub, in Manhattan, offers a preview of sorts the week before. —Apollinaire Scherr