2005 LA MISTELA FESTIVAL. ISABEL BAYÓN, FERNANDO TERREMOTO, CAPULLO DE JEREZ, PEPA MONTES…

Enlightened

Carlos Sánchez. Los Palacios (Seville), October 2005
Translation: Joseph Kopec

If the change is for the best, so much the better. That's what the organizers of the La Mistela Festival must have thought when they decided to give this event a different format. Going from an endless night aiming to become extinct, to several days in which rich, authentic, varied shows can be seen is a most fitting decision. With this new format, the La Mistela Festival - born in the sixties - is firming up with a personality of its own, taking up a definitive place on the flamenco scene. The current edition has enjoyed the participation, among others, of Isabel Bayón, Fernando Terremoto, Capullo de Jerez, Pepa Montes and José Valencia, who received the ‘Venencia Flamenca’, a prize the festival awards to now consolidated young artists.

As usual, a local artist is in charge of opening the five days of scheduled shows at the Municipal Theater of the Sevillian town of Los Palacios. On Tuesday the 18th, cantaor José Ángel Carmona Manzano had the complicated mission of kicking off the current edition of a festival with a commitment to youth. Immediately afterwards, María Peña and Antonio Moya inaugurated the ‘Late-Night Flamenco’ sessions at the flamenco circle El Pozo de las Penas.

	Isabel Bayón (Photo: Daniel Muñoz)

Anxiously awaited on Wednesday was the presence of bailaora Isabel Bayón. The Sevillian artist appeared with ‘Del alma’, a show which she premiered at Seville's 2002 Bienal. In this spectacle, Bayón offers the most intimate vision of baile, recreating movements, investigating positions, outlining her figure. The bailaora breaks loose in the malagueña, freeing her wrists with each flourish, in order to delve into a caña embellished with contemporary ingredients, and accentuated by the ‘Morentian’ voice of Juan José Amador. The cantaor gives the bailaora a breather with bamberas overlapped by fandangos with Camarón-style hues, joined by the voice of David Lagos. The tonás announce the change; Bayón - in a black bata de cola - shows the wealth in her arm movement through seguiriyas. Classicism takes control of the stage. She finishes off the job with her hips and shoulders. The tables turn. Bailaor Fernando Romero appears on stage. A dance for two. From classic to contemporary. Romero spins and spins at dizzying speed, using the space masterfully. Through rondeñas. Two styles, two bailaores. Curves and straight lines build a harmony of sensations.... of the soul. María José Carrasco and Manolito Herrera were waiting at the peña.

Jerez tête-à-tête

Cante established itself as the great star on the following day. A fictitious ‘tête-à-tête’ between Fernando Terremoto and Capullo de Jerez, since each artist offered his repertoire independently. Terremoto provided the character, while Capullo delighted with the rhythm of his native land. Terremoto opened with bulerías through soleá, his trademark. With brave ayeos. Showing at all times that he is in good shape. Emptying himself with Frijones. With the needed weight in each stage. He goes on with malagueñas, El Mellizo's version, with ease. Holding them wisely till the last moment. The jondura lasts in the seguiriya. From the land. With power. Recalling his ancestors. Time for fandangos. In full possession of his faculties. He doesn't even need the microphone. Few lyrics suffice for him. A flood of emotions. The bulerías arrive. Singing and dancing. It's all been done.

Capullo de Jerez (Photo: Daniel Muñoz)

Hardly having taken a breath, Capullo de Jerez appears with his group. The first sounds of the bulería through soleá are heard. His way. He also vindicates his native land. It must be remembered that his idol was Terremoto Sr. Fandangos. The Jerez-born cantaor appears a bit more serious than usual. That's because he knows how to adapt to the circumstances. The night called for seriousness. Though he relied on the same old repertoire, he renovated it with some new lyrics of his creation. Tangos. “These are my fantasies / the little things I sing / are mine”. He included the martinete, but he didn't finish developing it. He came back along festive lines with the compás only he possesses, through bulerías. “Apagó la luz” through rumbas. Jerez would continue at El Pozo de las Penas with Anabel Rosado, Sara Salado, Tamara de Tañé and Isaac Moreno.

Friday the 21st. Pepa Montes presents ‘Bailaora’. Despite the doors being opened to the weekend, the Sevillian artist didn't have the necessary pull. And that was in spite of having the presence of her family and the appearances of Segundo Falcón and Manuel Molina, guest artist. Molina opened with that so peculiar way he usually does. Crying out the cante. Gazing at the sky. He's a flamenco poet. Pepa Montes took over. With the caña. Decked out in a bata de cola. The bailaora vindicates the elegance of the Sevillian school. Faithful to her principles. Her son, Pedro Ricardo Miño, gives her a rest through granaína. He tries to overflow with flamencura with his piano. A complicated task. Fandangos and bulerías, a preamble to alegrías. Again in the bata. Old-style. And in very old-style … Lidia Montero and Enrique el Extremeño livened up the ‘Late-Night Flamenco’.

Venencia

José Valencia (Photo: Daniel Muñoz)

Last day. The festival reached its end. With a dual tribute. The official one, to young cantaor José Valencia, who was presented with the esteemed ‘Venencia Flamenca’ award - a highly-valued prize among young flamencos - for defending the classicism of Lebrija territory. The unofficial one, to Matilde Coral and Chano Lobato, with those ‘Historias de Arte’ (‘Art Histories’) which captivate audiences wherever they go. They made art with their stories, embellished with tangos, cantiñas, malagueña, soleá, bulerías and tanguillos. Machines.

To round off the night, cantaor José Valencia authenticated his award with a short but intense performance. He laid down the foundation in the soleá. Giving samples of the huge torrent he possesses. He continued with Lebrija-flavored cantiñas. Of the land. Devoting himself next to the designs of the seguiriya. With self-assurance and union. He closed with bulerías from his native land. With energy and power. Youth and long experience joined together in a grand finale. Matilde and Chano supported a visibly touched José Valencia. Regarding the ‘Venencia Flamenca’, Matilde Coral affirmed: “I think it's in the best hands, with young people”. Anabel Valencia and Luis Carrasco put the final touch on the current edition of the La Mistela Festival in ‘Late-Night Flamenco’. Enlightened.

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