FESTIVAL DE JEREZ 2005. ANTONIO CANALES: ‘CARMEN, CARMELA’

The legend returns

Silvia Calado. Jerez, 1st March 2005

‘Carmen, Carmela’. Antonio Canales: choreography, dance, Don José. Lola Greco: dance, Carmen. Diego Llori: dance, Escamillo. Daniel Méndez, Paco Iglesias: guitars. Herminia Borja, José Valencia: vocals. Lucky Losada, Antón Suárez: percussion. Juan Víctor Rodríguez Yagüe: musical adaptation. Miguel Narros: director. Teatro Villamarta. Jerez (Cadiz province, Spain), 1st March 2005. 9pm.

	Antonio Canales (Photo: Daniel Muñoz)

Ever a fan of the motto “the classics teach us how to live”, Antonio Canales gives another turn of the screw to the battle-worn legend of Carmen. Under the watchful eye of dramatist Miguel Narros, the Seville-born bailaor offers a version stripped down to the bare minimum - the love triangle between the cigarette-maker, Don José and the bullfighter Escamillo. And as in ‘Minotauro’, the accent here is on the harsher side of human relationships, on violence, on domination, on vices, on death... presenting the central character as a victim of her environment.

All of this is conveyed in a stage production more centered on actions than on words - the words are reserved for insults and cries - but, above all, centered on dance. A type of dance that combines flamenco, classical Spanish dance and occasional contemporary elements. Diego Llori stays firmly within flamenco territory, and shines during the lengthy, contained performance of his farruca. Lola Greco is outstanding (as always) performing Spanish traditional dance, feeding it with her own quirks and even incorporating smatterings of her own personality - passionate, fiery, slight, almost incorporeal. Antonio Canales adopts a more eclectic approach. Compared with his other recent shows his dance is varied, layering movement with acting, and he almost never leaves the stage. The ovation, though, was earned performing his specialties: tangos and seguiriyas.

The music that moves them is a combination of live cante flamenco and guitar, together with an adaptation of Bizet's score, recorded for the occasion on the guitars of Juan Víctor Rodríguez Yagüe, José Antonio Rodríguez, Niño de Pura and Serafín Arriaza, together with flute, percussion, bass and the choir of Seville's Teatro de la Maestranza. There is little that has not already been said about this hugely famous opera. As for the flamenco aspect, though, the range of ‘palos’ covered is striking - there's a mirabrás, a serrana, jaleos and a taranto, to name just a few. The cante is provided by José Valencia's powerful, booming voice, and Herminia Borja's more delicate but effective vocals. All guitar duties fall to Daniel Méndez, who continues to grow both as a writer and as a performer.

Antonio Canales compared the context within which the story is set with the inside of a heart, with life circulating around it. Designed by Andrea D’Odorico, the series of red semi-translucent panels with doors and corridors, together with Sergio Spinelli's lighting, help to focus attention on the essence of the circular story told here. The death of Carmen, and Don José's piercing cry. “Caaaaaarmen! Carmelaaaaaa!”. And the audience's fervent applause. And Antonio Canales who offers a Gran finale 'por bulerías' - this is Jerez after all - inviting Juan de Juan to participate in the success of this festival which, he says, can teach the Festival Bienal de Sevilla a thing or two about organization and formalities.

Lola Greco and Antonio Canales (Photo: Daniel Muñoz)

magazine@flamenco-world.com