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FESTIVAL DE JEREZ 2010. RAFAEL CAMPALLO, ‘PUENTE DE TRIANA’
Adrenaline
Silvia Calado. Jerez, March 12th, 2010
‘Puente de Triana’. Baile: Rafael Campallo, Adela Campallo (guest artist). Dance corps: El Choro, Marina, David Pérez, Aroa. Cante: Jeromo Segura, Javier Rivera, Londro. Guitar: Juan Campallo, Eugenio Iglesias. Percussion: Antonio Montiel. Artistic director: Rafael Campallo. 14th Festival de Jerez. Teatro Villamarta. Jerez (Cádiz, Spain), March 12th, 2010. 9 p.m.
Rafael Campallo closed a circle. With the curtain up to their knees and light reaching down to the floor, the bailaores phrased, one by one, with their footwork. And that introduction and that ending were a premonition and synthesis of how the Sevillian bailaor faced ‘Puente de Triana’, the first show he presented with his own company at the Teatro Villamarta. It might have been that “premiering” factor which led him to go non-stop. The Sevillian danced practically everything grounded, filling each gap with clear heels, with technique and virtuosity, with the pedal to the metal, with testosterone and with feeling towards the audience. Only in the pas de deux por alegrías with Adela Campallo, and in certain passages in the final seguiriyas, was that poise seen which the artist has and which in passing fits in so well with Triana’s spirit.
He paid tribute to the poor area on the other shore in Seville with styles which belonged to it and with certain allusive lyrics, although there were also some that were imported. The tientos were the first style tackled by Rafael Campallo, following the introduction by the dance corps consisting of two bailaoras and two bailaores. Bright, coloristic light, stage smoke, music and cante faithful to every step, extroversion and a pinch of male cockiness. There were five of them again for the tangos, a style which lacked certain workmanship. Adela’s bata de cola acted as a counterweight in the pair dancing, stopping body, music and time to the beat marked where the river comes out. As soon as she left, he took back up his discourse and his adrenaline. While he stayed under the spotlight, a table to the left was surrounded by bailaores. Fiesta por bulerías.
Adela Campallo returned to bring calmness por soleá, a very developed and somewhat extensive baile in which she seemed to tell a story. Beautiful in appearance and temperamental in her footwork, sensual and a lady, the bailaora then cried out for her own space on stage. The cantaores captured her atmosphere and took turns por martinetes. Rafael pulled the string planting himself seguiriya-style, finally achieving the contention which a bailaor of his experience and quality has to be capable of. And this show which finished the same way it started, although it was linear and hurried, was simple, correct and satisfied those who came to seek the standard of classical flamenco dancing done by a capable, personal bailaor.
Tomasito & Los Delinqüentes
Sala Paúl,
midnight
Tomasito and Los Delinqüentes jam-packed the Sala Paúl. The gathering between the eclectic singer-bailaor and the group Los Delinqüentes, all Jerez-born, had the festival’s new venue bursting at the seams. And in passing, they confirmed how necessary a bill of alternative flamenco was for the younger audience from here, who had a great time. Intertwining the repertoire from each other’s albums like ‘Y de lo mío, ¿qué?’, ‘Bienvenidos a la época iconoclasta’, and archive hits, they merged the energies of flamenco, rock and street music, making people burst out clapping and doing little spins por bulerías, this city’s biorhythm which has so many faces, which gives off so much art and which knows how to mix so well without losing the essence... and how to export itself, since “garrapatomaseando”, far from remaining a one-time face-off, could go on tour.
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And
tomorrow...
· Javier Latorre’s Choreography Workshop Final. Sala Compañía, 7 p.m.
· Fernando Belmonte. Teatro Villamarta, 9 p.m.
· Fernando de la Morena/ El Torta. Bodega Los Apóstoles, midnight
The end. Festival de Jerez closes the curtain on its fourteenth edition, stressing the history of Jerez. At the Teatro Villamarta, a show conceived and directed by Joaquín Grilo pays tribute to Fernando Belmonte, the legendary maestro of flamenco dancing and classical Spanish dance. And although a group of seven bailaores will bring his biography to life, he himself will return to the stage after thirty years’ absence. Joaquín Grilo, Fernando Galán, Ángel Muñoz, Christian Lozano, Charo Espino, Alicia Márquez and Úrsula López make up the lineup of bailaores and dancers that will recreate the poem which Antonio Gallardo dedicated to the founder of the Ballet Albarizuela and which is the core of the script. Music by Albéniz, tributes to Bety, to Antonio, to Paco del Río, ‘Benamor’, the studio on Bizcocheros Street, flamenco por soleá, por martinetes and por seguiriyas… sprinkle the show. And as a finale, at midnight at Los Apóstoles two of the most personal voices of today’s Jerez cante will perform: Fernando de la Morena and El Torta. |
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DVD. Rafael Campallo, 'Jóvenes maestros del arte flamenco vol.1'
 More information, video, orders |
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DVD. VVAA, 'El Ángel. Musical Flamenco. Vol. 1. Triana pura y dura'
More information, video, orders |
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CD. Tomasito, 'Y de lo mío, ¿qué?'
More information, audio, orders |
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CD. Los Delinqüentes, 'Bienvenidos a la época iconoclasta'
More information, audio, orders |
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