FESTIVAL DE JEREZ 2010. MARÍA DEL MAR MORENO,
‘QUIERO TU CANTE’
The dose of Jerez flavor
Silvia Calado. Jerez, March 6th, 2010
‘Quiero tu cante’.
María del Mar Moreno: baile.
La Macanita, Juana la del Pipa: special collaboration.
Antonio Malena, David Lagos, Manuel Malena: cante.
Santiago Moreno, Malena (Jr.): guitars. José
Luis Montón: midi guitar. Luis de la Tota,
Bo: clapping. 14th Festival de Jerez. Teatro Villamarta.
Jerez (Cádiz, Spain), March 6th, 2010. 9 p.m.
María
del Mar Moreno returns to ‘Jerez Puro’.
The bailaora repeats the formula in her periodic appearance
at Festival de Jerez. Jerez-style baile and cante
for local self-satisfaction and to take Jerez, as
well as those who like Jerez, to the box office and
applause. And the formula is infallible, unquestionable
and safe. Here. Therefore, no further line of argument
or further discourse was needed than what the title
expresses, since the Jerez-born artist’s baile
is, on principle, a direct consequence of cante. It’s
usually so of the cante of her inseparable Antonio
Malena, with whom she once again starred in the
now usual picture por seguiriyas, essential and heartrending.
But this time she wished to broaden the lineup of
cantaores and go with the flow of other quejíos.
As special collaborators, cantaoras Juana la del Pipa
and La Macanita, who devoted themselves generously
despite the fact that one hour later they would star
in the triple recital ‘Mujerez’ at Los
Apóstoles.
Also special, although not indicated
as such, was the collaboration of David
Lagos, who took on the role of the Spanish cantaor
returning from Latin America who brings airs from
abroad which, although they’re listened to at
first, are rejected in the end by those from the inside.
A role he shared with the “outsider” guitarist
José Luis Montón. The passages of greatest
musical interest in the show are developed with the
two of them which in turn draw different tessituras
from the bailaora; for example, in the guajira-ranchera
with a fan. La Macanita also walked on the other side
when recovering the most emblematic song of her discography,
‘Adiós tristeza’, contradicting
those who called her a “cantaora without impurities”
in a round-table the previous afternoon. But they
were exceptions within a whole dedicated to faithfulness
to oneself and preservation of the habitat, which
is an option as valid and respectable as any other.
A narrative was therefore unnecessary,
but the bailaora wanted to provide one, forcing the
lineup to take part in a somewhat naive, contingent
dramatization. She wanted to tell how the crisis affects
her company, with the artists awaiting a contract
and the telephone awaiting a call. She places it next
to a chest out of which comes the foulard, small shawl
and shawl which adorn the star’s basic wardrobe
- black skirt and blouse - and the more becoming wine-colored
dress she wears for the final stretch por soleá
and bulerías. Moderation was lost by then and
the show carried on unjustifiably, although it was
to the satisfaction of most of the crowd, who applauded
like crazy every spin, every declaration of Jerez
flavor. Long live Jerez!
‘Mujerez’.
Juana, Dolores, Tomasa
Bodega Los Apóstoles,
midnight
Juana
la del Pipa, La
Macanita and Dolores Agujetas made
the album encounter ‘Mujerez’
materialize at La Bodega de Los Apóstoles.
The first two were accompanied by Moraíto’s
genuine guitar while the third, by a
tocaor from her family; her son Dieguito.
Respecting the show’s moderation,
they offered two cantes each, styles
of Jerez’s deep roots like the
soleá por bulerías and
the seguiriya, converging at the end
in a spine-tingling round por tonás.
As a bonus track, as it couldn’t
be any other way, the fiesta por bulerías.
A perfect finishing touch for a concert
made up of energy, personality, tradition
and women, scented by the wine resting
in this unique venue. |
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