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Israel, what would you highlight about Alfredo's toque?

I. G. What I see in a guitarist is that he needs to have a technique serving the art, music and climate he wants to create. If a guitarist who's good technically doesn't have any imagination, he might crash into a wall. I'd define Alfredo as a very old-time guitarist of today. He's also a very versatile artist.

	Alfredo Lagos (Photo: Daniel Muñoz)

Why did Enrique Morente tell you that you were a guitarist who's a “jack-of-all-trades”?

A. L. The explanation is that when Enrique met me he was expecting something different from what he saw. Because he had a different idea of what a guitarist from Jerez was like. Guitarists from Jerez, with the exception of Gerardo Núñez, who's in another orbit, follow a certain pattern. And of course, when he saw me he was a little taken aback. A jack-of-all-trades in the sense that I can play at a party in Jerez or, for example, what we're getting ready now by Albéniz. I like Jerez's toque, but I didn't want to stop at that. I think there are a thousand other things to be done.

In this stage partnership, who's in charge?

I. G. I think as soon as someone's in charge, the magic's gone. I'm not a guitarist; I see guitar for baile. But each of us demands things from one another. There has to be a trial period within the rehearsals when we see what we have to do. Besides, I prefer to be given advice by a guitarist or a cantaor rather than a bailaor. I trust cantaores and guitarists more because they've got a different vision.

How do you size up the current flamenco scene?

I. G. I've had a bit of experience with other artforms, and I see that flamenco's receiving aid and is so successful that this has to mean the start of something. We're privileged to show something of our own. It's something of ours; we don't have any competition from other countries. You can only find flamenco guitarists and bailaores here. You can find classical artists in many countries. I think when we go abroad and see everything that's done, festivals like Jerez or the Bienal, which are really important events, are really small at the same time. They're like a fly on the world map.

A. L. On the one hand I find that flamenco's really deep-rooted here, but at the same time it's limited geographically. For example, jazz is born in a certain place, but it's spread all over the world. That doesn't happen with flamenco. It's really hard to spread. Though I don't know to what extent that's good for us. I think that in time and with new technologies, this will grow.

What do you try to contribute to flamenco?

A. L. All I want is to do what I like; I don't know if I'll contribute something or not. What I try to do is make my music and for people to have fun and have a good time. If you try to contribute things, you don't contribute anything in the end. If you contribute something, it comes out unintentionally. You simply go along doing what you like. If it's good, then you might contribute something.

I. G. I totally agree with Alfredo. If you have that intention of contributing something, you don't achieve it in the end. Each person is the way he is. At the end of your career, you realize what you've contributed. Artists move forward regardless of what they contribute.

Let's talk about the shows you've worked on together. ‘Arena’, ‘La edad de oro’…

I. G. From my point of view, I think ‘La edad de oro’ was more personal, because it's a question of a cantaor, a guitarist and a bailaor. We discovered new sensations there.

Israel Galván and Fernando Terremoto on 'La edad de oro'
(Photo: Daniel Muñoz)

What did Fernando Terremoto's voice contribute to that show?

I. G. I think he was the ideal cantaor for that show. He's a really clever person. We used his cante as if it were stage design. He was a fundamental element in the show.

A. L. Fernando, more than contributing to us, contributed to the show itself. We already knew his cante.

At the moment, the two of you are working on a piece by Albéniz for a tribute which will be paid to this exceptional composer in Seville. What makes up that piece?

I. G. It's a version of ‘Granada’. When I create something, I have to change my technical concept and create a new one. I can't get into that business of always dancing the same way; I have to put together my stuff. That supposes a risk of whether people will like it or not, on dealing with a classic maestro. I'm not going to do classical Spanish dance, like the National Ballet, nor can I dance a bulerías ‘patá’ with a piece by Albéniz. I'm just really weird. We're in no-man's land, so I'm going to seek something middle-of-the-road. Anyone coming to see us from the conservatory might very well throw his hands to his head.

A. L. Besides what I'm doing here with Israel, I'm also going to play a song called ‘Rumores de la caleta’.

Israel, do you still fear the audience's response?

I. G. This is different. I didn't choose ‘Granada’ myself. I was invited to the tribute to Albéniz, which is a pleasure for me, and I don't know what they'll think. But what I'm saying is that if I don't feel very true when dancing, I won't do it. I pass personal judgment and I have to weigh up if I'm sure about what I'm doing. We take all the business about the reviews as a bit of a joke.

Besides Albéniz, what projects do you have pending?

A. L. We've got several galas with ‘Arena’. I'll also be working very soon at Madrid's Teatro Español (Spanish Theater) with Estrella Morente.

I. G. ‘Arena’ is now more experienced and several galas have come out. I hope we keep working together with ‘Arena’ and ‘La edad de oro’. I've been offered a co-production to do a new show for Seville's Bienal. I'm also scheduled to perform in 2006 at El Monte's Flamenco Thursdays with ‘Tabula rasa’, a show which will include voice by Inés Bacán and piano by Diego Amador. That show will undoubtedly be at the next Jerez Festival.

Finally, why don't you ask each other a question?

A. L. You're alone on a desert island and you've got two options: a ball or some dance shoes. Which would you take?

I. G. I'd take the dance shoes, but I'd turn them into a soccer ball.

I. G. Alfredo, what is today's guitar missing?

A. L. If I knew that, I'd be a genius.

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