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SEVILLE'S BIENAL DE FLAMENCO
2002.
'EL COLOR DE LA ARMONÍA'/'UN RAMITO DE LOCURA'
The sane madness of creation
Silvia Calado Olivo. Seville, September 25th, 2002
Photos: Javier Hurtado
'El color de la armonía'. Gerardo Núñez:
guitar. Pablo Martín: Bass. Ángel Sánchez, Cepillo: percussion.
'Un ramito de locura'. Carmen Linares: cante. Gerardo Núñez:
guitar. Pablo Martín: Bass. Cepillo, Agustín Henke: percussion.
José Manuel León: guitar. Ana González, Federico Baeza, Miguel
Ángel González, Manuel González: palmas and chorus. Teatro
de la Maestranza. Seville, September 25th, 2002. 9:00 p.m.
Carmen Linares and Gerardo Nuñez
During a Gerardo Núñez concert when someone rudely comments,
"when are they going to bring on the guitarist?" the flattery outweighs
the insult, since it is a sign of importance. If the child painter at twelve years
old has gone beyond realism…or is creating, or takes up seascapes for newlyweds'
interior decoration… If the child guitarist was already playing for Borrico…giving
'color to the harmony'… Gerardo Núñez delves into a concept,
not only musical but flamenco, which is personal and knows no boundaries. And
the subtlety is what goes beyond the fanatics of this little universe. There are
so many guitarists…
'El color de la armonía', a concert that was announced as a world premiere,
represents a new leg of that journey of searching, finding, discovering, in that
instrumental geodesic dome universe of Jerez-Vitoria-Sanlúcar. The guitarist
came on alone to play 'Yerma', composition for a dramatic work in which everything
is transformed. Minimal, silent, flattening, floating and all the while the trio
aims sounds in the direction of a soleá por bulería. The plucked
bass, tensing, supporting the cajón, the guitar in E, in D, in A,
all over the place. 'Trafalgar' moves forward with the bow, Gerardo, the expert,
brings it all together dynamically, from more to less, without losing the beat.
And what does it matter if you resolve the referential riddle, if what you really
would like is for it to be a lullaby, and you shed a tear. A wink to both: the
bass plucking the strings and resonating in the body. An exercise in humility,
one of so many throughout the recital. Cortes, ripping, silent, digitalization
gone wild - because he also knows - the dialogue between strings…
Carmen Linares
Although 'Un ramito de locura' is another work and there was a twenty-minute
intermission, the dotted line led to the end of the sentence. Now Gerardo Núñez'
palette of colors coddles the cante, cante grande, serene, elegant, of Carmen
Linares. And it is she who shows humility so that Gerardo Núñez
may delve deeper into the harmonic madness without moving from the spot. One example:
in the beautiful 'Milonga del forastero' of Borges, when the singer stays stock
still, maestra, and the guitar doubles the tempo. And in a less obvious way in
the rest of the concert…a major concert of professionals who were up to the
grandeur of the setting. Tonás, soleares, bulerías, romeras - one
black mark for the chorus - taranta, seguiriya and cabales, tangos, seguiriyas.
The cante was moving for some, cold for others…a question of sensibilities,
taste, clichés. But no question as to wisdom, maturity, precise tones,
drama, class, music. There are so many painters of seascapes…
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The other side of the story
Finally. An artist realizes the time trick. That photographers should have
to attend photo sessions beforehand to get pictures of the immediate future, means
the images that appear in the media will be from that previous moment. And if
in that previous moment you're wearing an I love Benidorm T-shirt, that's
what shows up in the papers. The thing is, if the artists don't mind, as long
as no one convinces them to place more importance on the issue, it's a question
of organization. So yes, that was the attire Carmen Linares wore for her triumphant
night at the Teatro de la Maestranza.
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