SEVILLE'S BIENAL DE FLAMENCO 2002.
'CONCIERTO FLAMENCO PARA UN MARINERO EN TIERRA'
['Flamenco concert for a landlocked sailor']

MagniVicente

Silvia Calado Olivo. Seville, September 11th, 2002
Photos: Javier Hurtado

Ciudad de las ideas/'Concierto flamenco para un marinero en tierra'. Guitar: Vicente Amigo. Second guitar: José Manuel Hierro. Cante: Blas Córdoba, José Parra. Voice, percussion: Patricio Cámara. Percussion: Paquito, Güito. Bass: J.P. Cucurella. Orquesta de Córdoba. Orchestration: Leo Brower. Director: Joan Albert Amargós. Teatro de la Maestranza. Seville, September 11th, 2002. 9:00 p.m.

No one knew why, but no one was complaining. Instead of subtracting it was adding - everyone who attended last night's guitar and orchestra tribute to the sailor-poet Vicente Amigo at the Teatro de la Maestranza got a two-for-one bonus. The live version of 'Ciudad de las Ideas' was given to everyone. And if the recipients and givers had had their way, we'd still be with 'Vivencias imaginadas' or 'De mi corazón al aire'. There was no lack of desire to play or of readiness to listen during a night of unanimous 'oles', of rhythmic palmas, of more and more curtain calls… And all of it dedicated not only to Rafael Alberti but, as the guitarist from Gualalcanal put it, to peace as well. The importance of the calendar date required it.

The bonus gift was the first course. A first part in which Vicente Amigo and company offered the well-worn 'Ciudad de las Ideas', recently featured at the Festival de Verano del Teatro Real de Madrid. A bunch of fancy percussion, electric bass, a second guitar and the rough voice of Blas Córdoba backed up the guitarist for the meandering sounds that barely promised four pieces according to the program - never pay any attention to programs - even saying that, due to "technical glitches" the concert was a world premiere. Nevertheless, all expectations were handily trebled. The hermetic taranta - with an excess of 'reverb' by the way - the alegrías tasting of Cádiz, the rhythmic bulería, the rumba 'Ta, ta', the cadenced bolero, the magniVicente soleá dedicated to Córdoba, to the 'city of ideas', that place which oozes songs that need no reworking to become entities in themselves. And all wrapped in a group format where the dynamic is of crescendos, cuts, flat areas, soothing choruses, silences…although, take note, a live performance can never reach the level of quality of a recording.

The second part. The group lined up (with less percussion, with José Parra instead of Blas Córdoba in the cante), with the orchestra behind them…and to one side, the voice of the exiled sailor. The concert, which debuted a decade ago for the centennial of the poet from the '27 generation, turned the verses into notes: metaphors, parallels, verbosity, alliteration… And all with a familiar tone, of Spain, of Andalusia, of the sea, of bullfighting, without degenerating into folkloric clichés. Vicente Amigo, when he turned his back on the bassoons, violins and bass, had already proven himself. And he knew ahead of time the audience was in his pocket, as well as a standing ovation and glorious finale. He fearlessly turned up his guitar, imposing his will upon the orchestra, without a second thought. And he felt that dark Spain, the exuberant sensuality, the walking in the sand, high tide, low tide… How beautiful to hear an entire orchestra playing alegrías. How beautiful the guajiras as well. And with Vicente as captain, manning the rudder and guiding the ship to port, a landlocked port which broke into unanimous 'oles' after the final note and the last verse.

revista@flamenco-world.com