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SEVILLE'S BIENAL DE FLAMENCO
2002. CAÑIZARES/LEBRIJANO
From concept to concept
Silvia Calado Olivo. Sevilla, September 30th, 2002
Photos: Javier Hurtado
'Flamenco Picassiano'. Guitar: Cañizares. Segunda
guitar: Rafael Cañizares. Bass and bouzouki: José de Lucía.
Flute and keyboard: Domingo Patricio. Drums: Víctor Celada. Cante: Rosa
de la María. Cajón and dance: Antonio Granjero. 'Antología'.
Cante: Juan Peña, El Lebrijano. Guitars: Pedro María Peña,
Michele Lacarino, Antonio Malena. Bass: Manuel Nieto. Violin: Alexis Maxime. Percussion:
Tete Peña. Chorus and palmas: Juan Reina, Rosario Amador, Mara Navas. Teatro
de la Maestranza. Seville, September 30th, 2002. 9:00 p.m.
There's quite a stretch from the Picasso aesthetic to the anthology, not only
in the three-hour duration, but also in the concept. Concept a) is the attempt
to move forward, with the thematic label of the pictorial work of Pablo Picasso
(as it could have been any other), applied to the harmonic interface of flamenco
music. Juan Manuel Cañizares. Guitar. Concept b) is the self-evocation
leaving the reference transparent, making it one's own, with a wide vision. Juan
Peña, El Lebrijano. Cante.
Juan Manuel Cañizares
Juan Manuel Cañizares played a concert debut, it hinted of a recording.
He came on confusing periods. The taranta 'Azul' was the riskiest business, the
most cubist. He destructured with greater extremism that Gerardo Núñez
several nights earlier...he approached recklessness. He wisely surrounded himself
with a group to continue his overview of the work of the man from Málaga.
'Rosa', to alegrías. And then the thematic label was forgotten. A compact
group, marvelous bass, trilling flute, irrational dance. Tangos sketched with
a lovely preface, the flute as sung melody, cautious drums, room for everyone,
the whole sounds big. Cañizares overdoes virtuosity, the sinful apple of
technical perfection, he overdoes Paco, diminishes the abstraction, veers towards
the concrete. The group is still in the bulerías groove, but it doesn't
reach for the stars until it falls into waltz time. Special mention for José
de Lucía on the bouzouki, the great beyond of feeling. Soleares for 'Guernica'.
From little Picasso to none, continuity. 'Arlequines', rumba musicians to finish
off.
Juan Peña 'El Lebrijano' came on anthological and powerful. The warm-up
was brief. Cantiñas, offering up cante tending toward the profound, the
town crier "raises his voice". The cante sung, the arms as wings. 'La
Simoncita', roses and lillies, "que ni la hambre la vamo a sentí..."
From the horseplay of Cádiz, to the melodic loop of romance. The well-aged
voice, the authority. All bow down before you. You eclipse them all, fortunately,
the limitations of the backup are narrow. Juan Peña, Serneta, Pinini, the
campiña. Juan Peña who moves forward, who defends the present.
The 'Sueños, en el aire'. The violin and bass give you away. Thundering
from the throat, the streetlights lit... Midnight approaches, little remains within.
Half the audience wants to call it a day, satiated.
Lebrijano
revista@flamenco-world.com
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