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BIENAL DE FLAMENCO DE SEVILLA
2008
ANDRÉS MARÍN, ‘EL CIELO DE TU BOCA’
Bronze movements
Silvia Calado. Seville, September 22nd, 2008
‘El cielo de tu boca’.
Andrés Marín: baile, choreography.
Llorenç Barber: bells, polyphony, musical director
(guest artist). Segundo Falcón, Enrique Soto, José
Valencia: special cante collaboration. Salvador Gutiérrez:
guitar, musical director. Antonio Coronel: percussion.
Salud López, Andrés Marín: stage
directors. 15th Bienal de Flamenco de Sevilla 2008. Teatro
Central. Seville, September 22nd and 23rd, 2008. 9 p.m.
Andrés Marín
(Photo Daniel Muñoz)
Andrés Marín’s personal
quest seems to know no limits. The Sevillian bailaor has
premiered what might be the most experimental show of
all the ones which have been seen at this festival. ‘El
cielo de tu boca’ is a show with an air of performance
in which sounds and movements are explored. And specifically,
the ones made by bells. An inspiration which doesn’t
come to him from the outside, but rather from within.
The germ of this risky project lies in his own work, in
one of the scenes of the previous ‘El alba del último
día’. And from the detail, to the finding.
Andrés Marín
and Llorenç Barber
(Photo Daniel Muñoz) |
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Something which you can only get to if
you have the philosopher’s stone. Here is the expert
bell-ringer Llorenç Barber. The experimental musician
and his instrument (bells in multiple shapes and arrangements)
contribute not just musical contents but also ambience
and esthetics to the show. The bare space, the open lighting,
ropes, chairs, a ladder. And the bearded genius now making
the bells ring, now making his vocal chords ring out.
Just a few times. Others, sharing sounds with the cante
of three greats in the speciality: Enrique
Soto, Segundo
Falcón, José
Valencia. And not just the speciality of singing flamenco,
but also that of putting it at the disposal of the requirements
not just of baile (since this isn’t a bailaor who
subdues cante, but rather just the opposite), but also
of the scene. And most of the time, establishing a dialogue
with Andrés Marín.
The bailaor applies the dance language
which he has been modeling to this auditory feast for
years. And, as it usually occurs, each new step involves
new words. His is the style of purging, austerity and
angling. But his movements aren’t just postural,
but also sonorous. He’s seen here as more of a musician
than ever. There’s a brilliant moment in this sense,
and it’s the farruca. For it isn’t easy to
be imaginative in a style which is more of a song than
a style, and which is so conditioned by the rules. Although
the merit in this passage isn’t individual, but
rather shared with Salvador
Gutiérrez, in a successful display of guitar
boldness. There’s no room for anyone that isn’t
daring in ‘El cielo de tu boca’. And the bells
ring…
Andrés
Marín, 'El cielo de tu boca'.
Photo gallery, by Daniel Muñoz
Click
the image to enlarge
| ‘El
amor brujo’, Orquesta Sinfónica
de Sevilla & Esperanza Fernández
Teatro de la Maestranza, 8:30 p.m.
Esperanza Fernández
on 'El Amor Brujo'
(Photo Bienal de Sevilla © Luis Castilla)
Cantaora Esperanza
Fernández became special guest
of the Orquesta Sinfónica de Sevilla
(Seville Symphony Orchestra) to add a touch
of flamenco flavor to ‘El amor brujo’
by Manuel de Falla. A role, that of ‘Candela’,
which the Sevillian cantaora masters perfectly
- she even has it captured in three recordings
with other orchestras - and which she once
again displays her musical versatility with.
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And tomorrow…
• ‘Raíces
y alas’, Carmen Linares &
Juan Carlos Romero
Teatro Lope de Vega, 9 p.m.
Juan Carlos
Romero and Carmen Linares
(Photo Bienal de Sevilla
© C. Corrales) |
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Carmen
Linares and Juan
Carlos Romero premiere ‘Raíces
y alas’, the live show of an album inspired
by the poetry of Juan Ramón Jiménez
which will be released in late October. “The
title - as Romero explains - is taken from
an aphorism of his which fit us like a glove,
which summarizes our way of being always in
flamenco: wings that take root, roots that
fly”. When choosing the repertoire,
they affirm that they have gone with the flow
“of the communication which was established
with the poem at the time of reading it, something
visceral which doesn’t correspond to
the chronological order or theme”. So
the work method has consisted of “adapting
ourselves to the texts, for the music to agree
with each word”, they specify. That
music is therefore not necessarily flamenco.
And the thing is that what they see in common
between that genre and Juan Ramón is
“the Andalusian”. Some songs are
halfway between styles, like the soleá
‘El adiós definitivo’,
the alegrías ‘Remembranzas’
and the martinete ‘Con tu voz’.
But others don’t correspond to any scheme.
Instruments even appear in the concert in
the recording which aren’t usual in
the jondo art, such as the flugelhorn, oboe
and bassoon. Moreover, the group of musicians
on stage is joined by actor Miguel Palenzuela,
“since there were some verses which
needed their natural form to be read, and
we needed someone who knew the value of words”.
The team is completed with Pepa Gamboa in
charge of the stage directing.
• ‘El cielo de tu boca’,
Andrés Marín
Teatro Central, 9 p.m.
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