FESTIVAL DE JEREZ 2005. JAVIER LATORRE COMPANY / JUAN DIEGO

Surging rhythm

Silvia Calado. Jerez, 7th March 2005

‘Triana, en el nombre de la Rosa’. Javier Latorre y Compañía de Danza. Dancers: Ana Morales, Fuensanta la Moneta, Belén Mora, Encarna López, Nani Paños, Daniel Navarro, Pedro Córdoba, Álavaro Paños. Vocals: David Palomar, Antonio Campos, Sabrina Romero, Miguel Rosendo. Guitar: Ricardo Rivera, Keko Baldomero. Piano: Sergio Monroy. Base-double bass: Alejandro Benítez. Percussion: Sabrina Romero, Paquito González. Original idea, director, script, and choreographer: Javier Latorre. Musical arrangement: Ricardo Rivera. Teatro Villamarta, 9pm. ‘Conciertos de Palacio’. Juan Diego: guitar. Rosario la Tremendita: vocals. Palacio de Villavicencio, 7pm. Jerez (Cadiz province, Spain), 7th March 2005.

	Javier Latorre Company (photo: Daniel Muñoz)

Javier Latorre receives a second ovation at the 2005 Festival of Jerez. Following the success of the National Ballet’s ‘El Loco’ which he choreographed, he introduces his company’s latest show: ‘Triana, en el nombre de la Rosa.’ In contrast with ‘Rinconete y Cortadillo,’ a comical flamenco piece based on the writings of Cervantes, he indulges himself paying tribute to Triana, the emblematic Andalusian rock outfit. He does this by coupling the disbanded Seville group’s best-known songs with dance. The first step was to transform the songs into a broad range of flamenco palos, all performed live, which includes tangos, bulerías, martinete, seguiriya, farruca, jaleos, tientos, alegrias…And all of this is danced without a pause by a group comprising four male and four female dancers. Apart from the work of the group as a whole, which accurately shows Javier Latorres determination, the sensitivity of the pas de deux is noteworthy, as is the space set aside for solos by outstanding personalities such as Fuensanta la Moneta. This Granada-born bailaora brought the house down with her exquisite interpretation of the seguiriya, performed to the sound of ‘Cae la fina lluvia’ (The fine rain falls). It is surprising that, whilst able to shine individually, she has shown the modesty to form part of a company as demanding as that of the Valencian. He must have so much to say. The solo is immersed in a dense ensemble infused with the melancholy and terrible romanticism of Triana, so better be a fan of the poets behind ‘Hijos del agobio.’

The Concerts at the Palace

New guitars and new voices have been measuring up to each other in the intimacy of the Palace of Villavicencio. Diego del Morao, Javier Patino, Eduardo Trassierra, Laura Vital, Rocío Bazán and Juan Zarzuela have already formed part of this season which, on the evening of the 11th day of the festival, came to a close with performances by Juan Diego and Rosario la Tremendita. In the first part, the Jerez-born guitarist, accompanied only by a large earthenware jar, ran through some tunes included on the album ‘Luminaria,’ inserting some new creations to give us a taste of what’s to come. The refinement with which he played required the utmost subtlety. He made the grade playing some brilliant musical pieces - bulerías, soleá, sevillanas, tangos. He is one of the greats in portraying the sensitivity of the guitar. The second part offered the voice of the very young cantaora Rosario la Tremendita. Despite her age, this native of Triana already boasts awards from the most revered events. Her singing showed maturity, strength and delicacy, elegantly getting around any difficulties. Her repertoire included granaína, alegrías and bulerías, along with an introduction on foot performing old forge songs and an epilogue por fandangos by Vallejo and Niño Gloria. There couldn’t have been a more perfect setting than that of the ancient Alcázar to give wings to this new batch of flamenco artists.

Juan Diego (photo: Daniel Muñoz)

Rosario la Tremendita (photo: Daniel Muñoz)

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