SEVILLE’S 2010 FLAMENCO THURSDAYS. ADELA CAMPALLO,
‘HORIZONTE’
Birth
Silvia Calado. Seville, May 13th, 2010
Translation: Joseph Kopec
‘Horizonte’. Adela
Campallo: baile, choreography, directing. Juan
José Amador: guest artist (cante). Juan Campallo,
David Vargas: guitars, music. Jeromo Segura, Gallo de Morón,
Javier Rivera: cante. María Moreno, Silvia de Paz:
dance. Cajasol 2010 Flamenco Thursdays. Sala Joaquín
Turina. Seville, May 13th, 2010. 9 p.m.
Flamenco premieres a bailaora. And it isn’t
a new teenager discovered in a contest, or a name revealed
at the latest festival. With enough age, experiences, maturity
and career to have been up front for years now, Adela
Campallo has patiently waited for her break to come.
Touches of her baile have been seen in the Manuela Carrasco
Company, in Andrés Marín’s, in Farruquito’s,
in Javier Latorre’s, in Antonio Canales’…
and, above all, in her brother Rafael’s, with whom
she’s formed a tandem which many considered indissoluble.
All of which were enriching jobs, but they always offered
a partial and not a global vision of the Sevillian bailaora.
And ‘Horizonte’ is how she initiates that new
road along which she finally decides to individualize, with
the permission of the audience and organizers.
The show, equally elegant and vibrant,
is a baile suite in which she displays different facets.
She first imagines and gives expression to an elegant, original
baile por “galeras”, a musical score by Juan
Peña in a version here by guitarists David Vargas
and Juan Campallo - the show’s double musical forging
-, with a short dress, hearing and feeling. The sea in the
background. Then she choreographs a couple of musical transitions
for two bailaoras, applying the ways which are already hers
in other bodies. The sea in the background. And from then
on, she proclaims herself a bailaora, the bailaora. To do
so, she places her guest artist beside her, the brilliant
cantaor Juan
José Amador who, completely tuned-in with the
star energy-wise, ended up blurring out the three male voices
at the back.
Adela
Campallo and Juan José Amador on 'Horizonte'
(Photo Daniel
Muñoz) |
Silvia
de Paz and María Moreno on 'Horizonte' by Adela
Campallo
(Photo Daniel
Muñoz) |
As we were saying. Adela Campallo performed
the baile por serranas, wrapped up by Amador’s superb
cante and a dazzling navy blue bata de cola. And neither
one Seville nor the other, but rather both converge in this
beautiful artist: that of Manuela
and that of Esmeralda, that of land and that of air, that
which goes with the flow of chance and that of the established
order. A swell, with plastic streaks of calm, which grew
in the soleá.
Adela Campallo and Juan
José Amador on 'Horizonte'
(Photo Daniel
Muñoz) |
|
To the call of “tiro piedras por
la calle” (I throw stones down the street), she solemnly
entered the stage. She drew closer to the voice, arched
her figure, flirted with her hands, cooled her expression,
sketched with low arms. Time to inspire and stop. Then exhalation
would come, rolling up her sleeves, heels and virtuosity…
the twisted and violent flamenco nature of “Carmens”
and “Manuelas”, more and more necessary nowadays
amidst so much just nice baile. And from there to the bulería,
to the bullfighting stance, to fleeting sways, to mad syncopation,
and to the now irrepressible “olés” and
“bravos” from a crowd which felt involved from
the very first minute and privileged to witness the birth
of (just plain) bailaora Adela Campallo.
Complete
catalogue 
