|
|
FESTIVAL DE JEREZ 2007. ANDRÉS
PEÑA & PILAR OGALLA • ÁNGELES
FERNÁNDEZ • OLGA PERICET, MARCOS FLORES &
MANUEL LIÑÁN
Classics of today
Silvia Calado. Jerez, February 28th, 2007
‘A fuego lento’. Baile,
artistic director: Andrés Peña and
Pilar Ogalla. Cante: Luis el Zambo (guest artist),
Luis Moneo, Miguel Rosendo, David Palomar. Guitar: Javier
Patino (musical director), Alfredo Lagos. Clapping: Javier
Catumba, Alfonso Carpio. 11th Festival de Jerez. Teatro
Villamarta (Jerez, Spain), February 28th, 2007. 9 p.m.
| |
Pilar Ogalla (Photo:
Daniel Muñoz) |
| |
|
Classicism as the banner. ‘A fuego
lento’ by Andrés
Peña and Pilar Ogalla is the same old story:
baile, cante and toque, that’s all. The pair of
bailaores come out to uphold orthodoxy. And they’re
a hit with orthodoxy. There’s nothing else in the
show but a sequence of solos, plus an opening and closing
twosome. All of which is accompanied by a mighty trio
of cantaores, resounding clapping and reliable old-style
guitars. And as a stroke of color for the lineup, giving
it a big theater flavor, cantaor Luis
el Zambo is wedged in so that he only interacts with
the stars in the grand finale por romances. The formula
is more than proven, but it’s still successful...
and more so, playing at home.
The Jerez-born bailaor received resounding
ovations for his bailes, especially the farruca and the
bulerías. His baile is strong, clean, specific,
with a direct effect. The Cádiz-born bailaora was
also liked, above all por alegrías wearing a bata
de cola. Though despite her sensuality and propriety,
she didn’t manage that necessary point of getting
things across to captivate the crowd.
In a performance lasting an hour and
forty-five minutes - that is to say, too long - there
were flashes of brilliant cante like the ‘trintrin’
by Luis Moneo or the start por tangos by David
Palomar, whose timbre is growing day by day. The two
guitarists, who normally fly along creative courses, took
the classical form required by the show, providing the
performance with a solid foundation. Special mention goes
to the old-time echo of Alfredo Lagos accompanying Luis
el Zambo por seguiriyas, seated face to face in the middle,
like Moraíto and Antonio Malena in ‘Jerez
Puro’ in previous editions. The guest artist didn’t
disappoint his die-hard fans with his dense timbre, with
his broad voice. The bailaores might have settled for
his presence, with the flash of a light which guided them.
Ándres Peña, Pilar Ogalla and Luis el Zambo
(Photo: Daniel Muñoz)
Los conciertos de Palacio Series.
Ángeles Fernández
Ángeles Fernández
is determined to be a cantaora. And she wants
to go step by step. The way has been cleared
for her, having been born where she was born.
Working together with Tomatito, who is her
father, has given her a solid base. But now
comes the moment of truth. And there are no
tricks in cante. Festival de Jerez has offered
her a chance, like many other young artists,
to have a showcase. With the added difficulty
of the ‘unplugged’. So she made
use of a young expert on guitar, Daniel
Méndez, and she offered a sample
of her stuff at his side. She still sings
with a thin, crystal-clear, shy voice, in
the process of opening up. But she gets set
up and fights with the weapon of melody. She
started off with a sweet taranto, and then
with the support of Gregorio and Chícharo
on clapping, went to the rhythmic por alegrías,
tangos and bulerías. Her search lies
between La Niña de los Peines and Camarón.
Now what she needs is to sing and sing and
sing.
Ángeles
Fernández & Daniel Méndez
(Photo: Daniel Muñoz)
|
|
| A-compás-a-dos Series. Olga
Pericet, Marcos Flores & Manuel Liñán
Photo: Daniel
Muñoz
A-compás-a-tres.
A trio matter. Olga
Pericet, Marcos
Flores and Manuel
Liñán appeared at Sala Compañía
at midnight with the show ‘En clave’,
which they had just put on at the New York
Flamenco Festival. And it’s proof that
their artistic cooperation is more than fruitful.
Since they joined forces to create ESS3 Movimiento,
they have purified a style all their own which
explores the possibilities of contemporary
flamenco dancing. And though they reserve
room for each one’s individuality, like
the applauded cabales and seguiriyas by Marcos
Flores, when the essence of the project springs
up is in the gatherings of the trio. And a
good example of that is the introduction,
a burst of originality in the choreographic
design, nearly like a mathematical formulation,
and in the direct use of body percussion as
an essential sound of flamenco.
|
|
Presentation of the album ‘Testimonios’
by Manuel Moneo
Soon to be released is the
album ‘Testimonios’ by Manuel
Moneo. But he didn’t want to pass up
the chance to present it, amidst his own,
at Bodega de San Ginés. The album’s
producer, José María Castaño,
explained that “we wanted to collect
instants of cante in its ambience, which is
still really important to enthusiasts”.
And the thing is that the record includes
live performances recorded in private and
on stages in Jerez, Algeciras, Casabermeja
and Valladolid. The guitars by Moraíto,
Antonio Jero and Juan Moneo accompany these
nine cantes which at the same time are a tribute
to La Plazuela. And to display the contents,
the cantaor didn’t hesitate to sing
a tremendous soleá right there at the
round-table.
Manuel Moneo (Photo:
Daniel Muñoz)
Special
Feature. Jerez Cante Families: Los Moneo
|
|
|
|
