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FESTIVAL DE JEREZ 2007. MARÍA PAGÉS
· EDU LOZANO
Sense of sight
Silvia Calado. Jerez, March 2nd, 2007
‘Gitanas’. Baile: La
Farruca, Angelita Vargas, Pilar la Faraona, Carmelilla
Montoya, Saray de los Reyes. Cante: Juana la del Revuelo,
Encarnita Anillo, María Vizárraga, Mara
Rey. Guitar: José Acedo, Paco Iglesias, Rafael
Rodríguez. Original idea: Eva Rico. Artistic director:
Juan Manuel Fernández. Stage design: Richard Harrison.
11th Festival de Jerez. Teatro Villamarta (Jerez, Spain),
March 3rd, 2007. 9 p.m.
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Carmelilla Montoya
(Photo: Daniel Muñoz) |
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Normally, the running of a show involves
greasing up gears, adjusting details. Normally, it means
improving. And that’s why it’s strange that
with the passing of time, ‘Gitanas’ is undergoing
the opposite process. Last night at the Teatro Villamarta,
after having been performed at festivals such as Bienal
de Sevilla and Mont de Marsan, it was as if it were out
of place, as if it were neglected even in the wardrobe.
There might have been some technical deficiencies behind
the scenes. Or maybe it’s that the flamenco advocated
by Farruco’s
descendants doesn’t need to be so polished. Paradoxically,
the crowd’s reaction was the most devoted one of
those seen so far, with applause to the beat not just
at the end, but also in the middle. Now then, it went
out to Pilar
la Faraona, who packs into her dense figure that essential
flamencura which is so little seen nowadays. Conversing
with Juana la del Revuelo, she shook up the crowd with
one spark after another of wit, of flavor.
And the thing is that there are a lot
of special moments. Some of them cante, others baile.
Of the ones sung, the outstanding ones were those by Encarnita
Anillo, the only one able to control her voice, channel
it and seek something beautiful in her appearances. Of
the ones danced, the stress was on Angelita Vargas, with
unhurried tientos which she sketched out taking her time
and space, expressing the baile with juicy serenity. Adopting
a similar attitude was Carmelilla Montoya, so delicate
in her strolling around, so graceful in her movements.
And at instants, La Farruca por soleá. Except for
those few breathers, the rest was vibrant, uproar, fire,
wind. There was a great hunger for all of it, judging
by the crowd’s final ovation. And then La Farruca
took advantage to dedicate the triumph to Farruquito,
the show’s artistic director, currently in prison
for the crimes of manslaughter and fleeing the scene of
the crime.
Singing Café Series. Carmen
Linares
Carmen Linares:
cante. José Manuel León: guitar.
Eduardo Pacheco: second guitar. Ana González,
Javier González: clapping. Bodega de
Los Apóstoles (midnight)
How fortunate it is that
flamenco is an art of contrasts. And it goes
from uproar to calmness in a matter of minutes.
Following the dose of adrenaline at the theater,
soothing comfort came at Bodega de Los Apóstoles,
jam-packed tonight awaiting the lady of cante.
Carmen
Linares, with the natural elegance she
possesses, came onto such a beautiful stage
por alegrías. Her ripe echo, as if
about to fall off the tree. Her old-time ways,
as if inspired by time. Thus having opened,
she took another course; that of the unusual
fandangos de Lucena. And she uttered them
with intelligence and taste, tacks which guitarist
José
Manuel León applied to his personal
accompaniment.
Carmen Linares
(Photo: Daniel Muñoz)
Off her latest album, ‘Un
ramito de locura’, she takes ‘Milonga
del forastero’ by Borges. The guitarist,
impressive, making his own the music which
at the time was designed by Gerardo Núñez.
And the cantaora, thrilling, stabbing silver
daggers in the grape-scented air. Her hand
covers her breast, letting a cante por tarantas
come out. How it’s uttered and what’s
uttered is important. By now, many are wondering
who that so alien, so impressive guitarist
is. A shame he doesn’t have the chance
to be in the ‘Bordón y cuenta
nueva’ series to display his ‘Sirimusa’.
The show continues with soleá por bulerías
and with seguiriyas. Jondo delicatessen. And
it reaches its end por bulerías, returning
to the ways of the beginning. The audience
called for an encore and Carmen Linares responded
with the song by Vainica Doble about “quiero
olvidar tu nombre”, which she joined
to “anda jaleo” just like that.
If it’s a pleasure to see her at a theater,
imagine at this holy wine bar in Jerez...
CD:
Carmen Linares. Un ramito de locura
CD:
José Manuel León. Sirimusa
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| And tomorrow.... Rafaela Carrasco
• Rubichi •
Antonio Arrebola & Luisa Palicio
Bailaora Rafaela
Carrasco describes a couple’s relationship
in 'Del amor y otras cosas', the new show
she will present at the Teatro Villamarta
on Sunday, March 4th. In this work, the plot
is described through five emotional states.
To do so, she has the collaboration of Daniel
Doña on stage and the choreography
contributed by Teresa Nieto, a contemporary
dancer, to achieve “today’s flamenco”.
The Sevillian bailaora explains that “it’s
an intimate show; everything happens between
the two”, although “it connects
with people, since we’ve all experienced
these situations and their corresponding feelings”.
The cante by Miguel Ortega and Antonio Campos
smoothes over the transitions narrating the
couple’s relationship. And with that
same aim, the music is assigned to Jesús
Torres (guitar), José Luis López
(cello), Ramiro Obedman (flute and sax), Nacho
Arimany (percussion) and Pablo Suárez
(piano). On this day, the festival also offers
a show by Rubichi at Palacio de Villavicencio
(7 p.m.) and baile by Antonio Arrebola and
Luisa Palicio at Sala Compañía
(midnight), within the ‘Los Novísimos’
Series.
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