SANGRE NUEVA. YOUNG FLAMENCOS 2009
The brilliance of a cantaora
S.C./ Flamenco-world.com. Madrid, October 30th, 2009
We’re informing of the takeover from
this magazine. The artists who are coming on strong now
are the ones that were born in the decade of the eighties.
And a good handful of them, of twenty-something cantaores,
bailaores, tocaores and instrumentalists were the stars
of the Sangre Nueva (New Blood) 2009 Series which, throughout
six nights spread out over two weekends, has been held at
the Teatro Español in Madrid.
One of those evenings was the one starring
Rocío
Márquez, a cantaora who is striving to
be consistent with the prize endorsing her, the Lámpara
Minera. The Huelva-born artist got to the cozy theater at
Plaza de Santa Ana dressed in white. A short bolero, long
loose golden hair, ruffles as wavy as her very voice. She
might overdo the curls, the delicate movements, the flourishes,
but it isn’t just that her technique is irreproachable
and she applies her baroque style elegantly, but that she
really caters to the audience’s delight. So much so,
that the crowd ended up surprising her by standing up and
applauding in the cantiñas. So how was she going
to deny singing them what they asked her for? Minera? Minera
it is. Fandangos? Fandangos it is. With that reference to
Huelva, standing up front without a mike, she finished off
not just a triumphant job, but also one sprinkled with freshness
and variety. And not just due to the styles sung and the
references inspiring her, but also because of the details
she herself contributes. Just a different ending or unexpected
silence are the unmistakable signs of the intention to personalize.
And that adds interest to her show. She’ll still have
to mature, de-baroque and polish up her personality, perhaps
she’ll have to sit beside a weightier guitarist, but
she is now one of those few twenty-something flamencas that
shine in their own right.
It was her night, but shared. Before her
recital, young Sevillian pianist Laura de los Ángeles
performed several of the pieces off her album ‘Callejón
del agua’. Accompanied by clapping, box drum and her
mother’s flattering comments, she offered bulerías,
tangos and alegrías influenced by both traditional
cante and toque, as well as by predecessors of hers like
Dorantes. And at the end, now with less novelty in his blood,
was the more veteran bailaor David Morales, who closed the
night with a suite of solos to the sound of martinetes and
soleares.
David
Morales
(Photo Daniel Muñoz)
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