Rafael de Utrera was the singer chosen by Paco de Lucía to accompany him on his world tour through the United States, Canada, Japan and Europe in 2001. The inclusion of this singer in the usual septet of the maestro from Algeciras - Ramón de Algeciras, José María Bandera, El Grilo, Jorge Pardo, Carles Benavent and Rubem Dantas - has caused a stir within the flamenco world.

Speaking about the choice Paco de Lucía commented to us: "I have the best references about him. Duquende called me at the last minute saying he wouldn't be able to come. I'm very interested in hearing this singer up close".

In fact, Rafael Usero Vilches, Rafael de Utrera, has been carving out a niche for himself and fighting to reach the level he deserves. Now the bad times seem far away, bitter experiences and disappointments, such as the Concurso de Jóvenes Valores (contest of young hopefuls) from the past Bienal, because as Rafael himself said, "this kind of news goes beyond my wildest dreams".

What's it like working at a tablao when you're starting out?

Well... tablao life is hard, very hard, but it also has it's good side and is very important for the professional development of an artist. It's really an artist's beginning, because it's the first place where you start expressing who you are to the audience and other artists can see you. Tablao work is one of the basic pillars for a flamenco singer, and it should even be obligatory. In fact, there are many famous artists who began singing in tablaos, getting those first experiences and that training which is so important for their later careers. Unfortunately that's getting lost little by little because today's singers are much more impatient and they want to make the leap to singing solo without having had that previous experience (of singing for dancers).

How did you meet Cristina Hoyos?

I think it was in the Compañía Andaluza de Danza. Yes, now I remember! It was in the Xth Bienal de Flamenco, in 1998. I worked a lot in that Bienal and that gave me the opportunity to expose myself and many people got to know who Rafael de Utrera was. At the end of the Bienal, Cristina was looking for a singer for her company and she approached me.

What has Cristina Hoyos represented in your professional career?

The truth is, she has been definitive. Bear in mind, it's been four years of non-stop work, although I did do some gigs with other companies. She helped me a lot, giving me a place of importance as the company's singer. For example, in this last show "Al Compás del Tiempo", the curtain went up and I came out alone singing, also many other gestures of support and affection. I still remember the first time I went to Seville's Teatro Central in the series El Flamenco Viene del Sur, because it was thanks to her that I was able to be there that night alongside Estrella Morente. I had a terrible fever and they even had to give me an injection, but there she was giving me her unconditional support. The following year she did everything in her power so that I could return, this time with Chonchi Heredia, so I was able to overcome my dissatisfaction with the previous year.

For this reason, and many others, I have to say that I owe practically everything that I am to Cristina Hoyos. In fact, it really hurts me to leave her company, especially since my wife continues to dance with her, but we've talked it out and she understands and supports me, so I can only have words of thankfulness and praise for her and for her husband.

Which singers have influenced you the most, people you've taken as a reference?

Actually, I prefer to talk about various singers, because every time they ask me to name just one I answer that it's impossible to limit my taste to only one person. Although I would have to say, that having been born in Utrera I've always liked Perrate a great deal, because of that personality he had, that made him stand out from the rest, the same with Fernanda, especially in the soleá. I also liked very much another singer from Utrera called Manuel de Angustia, because despite not being very well-known, his singing moved me, even to the point of tears. And, well... outside Utrera there are many such as Luis Torre Cádiz "Joselero de Morón", Juan Talega, Joaquín el de la Paula, Antonio Mairena, Chocolate, Agujetas, Tomás Pavón, Pinto, El Sevillano, Marchena, Caracol, etc.

There are also singers nowadays I consider outstanding, like Enrique Morente - a very controversial figure for flamenco followers, but for me he merits all the respect in the world, because he's recorded it all - and Camarón, whom I deeply admired, but never tried to imitate. I like to hear José just for pleasure, listening to him in my house, but that's another realm, and perhaps out of respect I don't like to draw from that source.

When you're singing at ease, what are the cantes you most like to do?

As far as I'm concerned, all the styles are equally important. I can't understand those people who distinguish between great styles and small styles, or gypsy cante and non-gypsy cante. Cante is nothing more than oneself, although it's true that we might like one person's interpretation more than another's. Now, when I'm feeling good, there are several styles with which I feel very comfortable, like the soleá, tonás, and bulerías. All the same, there are other styles I don't usually do and when I've done them on occasion in a flamenco club or private gathering I've been pleasantly surprised with myself, which is why I say, although I might have certain preferences, certain qualities might bring you closer to forms which are not necessarily your favorites, but even so, they go well with your voice and your attributes.

How do you feel now that you're going with Paco de Lucía?

Wow... I'm really floating. To give you an idea, I've had a cold for days, and something tells me that I'm not getting any better because of the butterflies in my stomach (laughter). It may sound silly, but the respect I have for him is so great, and I'm so apprehensive about how it's going to be when I meet him and what he's going to say that... for me, and I think for all flamenco-lovers, Paco is a god, which is why I have this mixture of fear, impatience, respect, all together. Never had I dreamed that I would sing for the best guitarist of all time, which is why I think this is going to be the best prize that anyone could have given me. This makes up for everything, really, it's just incredible.

What will your participation consist of on Paco de Lucía's world tour?

Well to tell the truth, I don't know yet. I suppose I'll have to do more or less the same as Duquende, since they haven't made any new recording, the show will be about the same. There'll be pieces in which he'll play solo, and others in which I'll have to sing along with him or for Joaquín El Grilo's dancing. But like I said before, until I speak with him personally and we begin rehearsing, I don't know anything.

By Fernando G. Caballos
Translation: Estela Zatania