ARCÁNGEL, 'ZAMBRA 5.1'. 2008 CAJAMADRID FLAMENCO FESTIVAL
The next-to-last fandango
Silvia Calado. Madrid, January 31st, 2008
'Zambra 5.1'. Arcángel : cante, musical director. Miguel Ángel Cortés, Daniel Méndez: guitars. Chico Fargas, Agustín Diazssera: percussions. Dorantes: piano (guest artist). Rosario Toledo: baile (guest artist). Manuel Correa: script, audiovisual director. 16th CajaMadrid Flamenco Festival 2008. Teatro Albéniz. Madrid, January 31st, 2008. 8:30 p.m.
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Arcángel on Zambra 5.1
(Photo Daniel Muñoz)
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When Manolo Caracol recorded his "next-to-last" fandango, he also recorded his next-to-last wish: "For all children to bear in mind the album Caracol recorded on his fiftieth anniversary". The Sevillian cantaor died in 1973. And Arcángel was going to be one of those children ... With this show, the Huelva-born cantaor honors his memory, and in passing, that of every flamenco artist who has disowned damned purity. A precept which is openly criticized here in words and in cante, with rage included.
'Zambra 5.1' is not an entirely usual recital. Of course now, Arcángel reinterprets a complete selection of Caracol's repertoire, and moreover in a classic style, with a guitar and that's all. But in addition, he wraps up the cantes with a staging consisting of audiovisuals and surround sound. The videos, although not very inspired, supported the messages from time to time. And the Dolby surround elaborated on some details, but it was a shame it was limited to a ditto.
And in general, it was no big deal. With all the fuss at the premiere because of it being 'mannerist'. Not at all. 'Zambra 5.1' has a fundamental value; the fact that a cantaor shapes up a thematic dramatic work (for theaters) is exceptional in itself. That he wants to pay tribute to one of the key figures in cante history also is. Then afterwards, you have to value the intense work live by the cantaor for over an hour and a half straight. He sings a bit of everything and everything with a level of quality which is his trademark. Seguiriyas, soleares, alegrías, fandangos, zambras, bulerías... And the fact that perhaps a bit of feeling or of warmth was missing has to be chalked up to the script. Even if it's just for that piece in which his voice is recorded and shoots off, creating a chilling background polyphony upon which he keeps on singing, the beat being marked on a box drum, it's already worth it. Modernity at last, Mr. Valiant.
But nothing happens without the band. He does the first cantes alternating two guitars. Daniel Méndez offers personal ways, very light, flying over, very futuristic. Miguel Ángel Cortés is overwhelming with so solid, so mature toque; suddenly before, suddenly today. From affectation to silence, from adornment to the base. And the interesting thing is that each one of them feeds the cantaor a different way. He has two percussionists on stage so that there are no colors missing. And then there are the guest artists. Dorantes was all mastery and delicacy on the piano, transfiguring into something of great height and very current the instrument used by Caracol to season his songs in days gone by. Rosario Toledo , who covered the absence of Pastora Galván, provided art become vision. She danced por alegrías, old-time, flirtatious, electric. She danced the zambra with castanets, plastic and whispering. And she completed the final picture, an epilogue nearly por sevillanas which relieved the tight spot of the next-to-last fandango. "Purity is a comfort, a line in the memory, a reward from heaven. Why argue so much about the old and the modern and what's to come?" That's right; why think about it more? He himself sang "there's no known brake which can brake life". The applause by maestros Enrique Morente and Carmen Linares on their feet was as good as all the applause.
