SEVILLE'S BIENAL DE FLAMENCO 2002. 'RINCONETE Y CORTADILLO'

The point of reference

Silvia Calado Olivo. Seville, September 26th, 2002
Photos: Javier Hurtado

'Rinconete y Cortadillo'. Dance: Daniel Navarro, Nacho Blanco, Rosario Toledo, Pol Vaquero, María Mar Martínez, Fernando Galán, Adela Campallo, Rafael del Pino, Laura Granados, Álvaro Paños, Chloe. Cante: Enrique el Extremeño, Chicho, Antonio Campos, Anabel Rivera. Guitar: Daniel Méndez, Ricardo Rivera. Percussion: Antonio Montiel, Sabrina Romero. Choreographer and director: Javier Latorre. Music: Juan Carlos Romero and Mauricio Sotelo. Lyrics: José Luis Ortiz Nuevo. Teatro Lope de Vega. Seville, September 26th, 2002. 9:00 p.m.

Comparisons are as terrible as they are inevitable...and possibly even more so within this framework of flamenco productions which is the Bienal de Sevilla. After getting though some twenty shows, there are enough points of reference to compare: tricks, superficiality, things well done, genius… And this is why when you stumble upon a work of the overall quality of Javier Latorre's 'Rinconete y Cortadillo', even the second time around, the irresistible impulse is to muse whether it is possible to out-do the performance…at least as far as this type of thing goes, that is to say, dance applied to a story line. The reason?

Perhaps it's compound: teamwork by acknowledged creators. Javier Latorre at the lead, among other things, demonstrates the wisdom of the timely retreat from stage and knowing how to move around a choreographic and directorial map with a work that is ingeniously baffling. The comparison is terrible but inevitable. And there have already been plenty of examples of the other extreme, presumptuous at that. The classical dancer-flamenco dancer- choreographer-director from Valencia knows how to package his work. In particular, the music at the hands of two specialists, each in his own field: Mauricio Sotelo, contemporary music, and Juan Carlos Romero, flamenco. Along with them, the verses of Ortiz Nuevo meant to be narrative. For the background, the sets of Abraham Lacalle which are constructed as the work progresses. And of course, the artistic line-up. In dance and interpretation, there are those who stand out noticeably, but there is another quality perhaps more noteworthy: no one is excess baggage. The level is high. In the cante department, aside from the role-play, impeccable performance, whether in the musical narrative vein, or in personal interpretation. And likewise, the online flamenco music, with sound effects included (the slap in the face, the crack, the blow).

With the combination of all these elements, 'Rinconete y Cortadillo' shows itself to be a well-rounded stage product that not only tells and narrates its own story, but also gives rise to belly-laughs with humorous universal gags: "How can you make someone laugh with flamenco dance?" mused one surprised spectator upon leaving.

Daniel Navarro, Rinconete

Nacho Blanco, Cortadillo

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