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SEVILLE'S BIENAL DE FLAMENCO
2002. 'SUR'
Palatial magnificence...with a grand
Silvia Calado Olivo. Seville, September 7th, 2002
Photos: Javier Hurtado
'Sur'. Piano: David Peña, Dorantes. Cante (guest
artist): Esperanza Fernández. Sax, flute and midi: Nacho Gil. Drums, tabla:
Tino di Geraldo. Bass: Manolo Nieto. Percussion: Álvaro Garrido. Cajón:
Tete Peña. Palmas: Vicente Peña, Juan Grande. Orquesta de Cámara
Sur, coordinated and directed by Rafael Fernández. Reales Alcázares
de Sevilla, September 7th, 2002. 9:00 p.m.
Violines, a cello, an English horn, bass, tuba, tambourine, drums, an 'udu',
a tabla...a grand piano. The monastic palace, accustomed to a somewhat different
ambience, contemplated the assortment of instruments contentedly, after evenings
of guitar music. David Peña 'Dorantes', with a chamber orchestra and several
guest artists, brought music, compositions, creations...and a manifesto given
voice by Esperanza Fernández: "Los árboles se hacen viejos,
si está sana su raíz", ['Trees grow old if the roots are
healthy'].
After a free-form introduction "en aires de rondeña" with
dazzling finger-work and string-hammering, the descendent of Pinini divided the
presentation concert of his second record 'Sur' into two parts directly relating
to his involvement in flamenco. From more to less...although the 'less' part was
the reference, the recognition, the keeping to form. From the lone piano, the
break came with percussion and an electric bass. 'La danza de la sombras' [dance
of shadows], tanguillos, flirting with ethnic, contemporary, classical and
flamenco sounds. Dialoques, silences, fluidity. Too bad the sound technician paid
no attention to the tabla and the person who played it so wisely.
Dorantes went to Alcalá to collect Esperanza Fernández who is
now expecting. The soleá from the record the singer recorded with her cousin
('Esperanza Fernández', BMG, 2001) served to warm the singer up - a velvet-voiced
singer with a wide vocal range - with her shawl of antique gold. 'En el compás
de su sangre' ['compás in the veins'], that same blood which ties
the family to the golden triangle of flamenco. As respectful accompaniment, the
piano took a back seat. Kudos for the invited guest. Shivers of emotion for the
audience.
A touching love story, about Ana's patience. An emotive voice, that of Esperanza
Fernández, provoking an ovation in the Patio de la Montería. 'Di,
di, Ana'. A delicate touch in the voice, the piano, the tambourine, the brushing
of the drums. The song-cante with taste, and class... The bells of the Giralda
momentarily take over. Ovation. 'A ritmo de berza', to the rhytyhm of bulerías,
consoles Ana's hurt. Piano, palmas, tense and intense, full of life. Cheers for
Dorantes, ole, ole....
And now the other part. With 'Barrio Latino' come images of Calle 54, of Bebo...
And of a Latin jazz band, not everyone's cup of tea. The cajón was superfluous,
it was superfluous all night, with no knowledge of musicality, of teamwork, of
subtlety: hands on the loose. Half the orchestra joins in for the fiesta for one
of Dorantes' major works: 'Sur'. They closed their eyes, the Mudejar façade
became a giant cinemascope, bird's-eye view, thundering of horses...original soundtrack
for cinema. Tense crescendos, violines turning the experience into a physical
adventure (despite the thin sound), the drum brush now and again. The heights.
The audience in the palm of his hand. 'Batir de alas', ['the beating of wings'],
a piece the pianist dedicated to his mother on the record, is full of romanticism
and delicacy, silky tact, airy flight which springs from the cello and bass.
Dorantes seemed to feel that such extreme sensory pleasure required some sort
of explanation. 'Caravana de los Zincali' "tells of the times when gypsy
caravans entered Spain via the southern route...", and he dedicated the exodus
to his son. Enveloped in the same cinematographic effect of 'Sur', and the building
wind, the singer offered a gentle sketch of seguirya. Compact, tasteful, a concise
work. Dorantes trips over his tongue...he can't quite believe it all. "Sit
back down". And then he played "Orobroy", the idea, the first composition.
And he had to put the icing on the cake: 'Semblanza de un río', "which
my friend Rafael arranged for chamber orchestra. The piano sings por bulerías.
Magnificence, completeness...palatial dignity. Hats off.
| The other side of the story
Once again technical limitations at this impertinent
setting,. The equipment was nearly enough for a guitar and a voice, but was insufficient
for the orchestral needs of Dorantes. The technician had to work miracles to get
the most out of sound equipment that belonged at a street party.
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