SUMA FLAMENCA 2010. MIGUEL POVEDA
Flamenco cantaor
Silvia Calado. Madrid, June 10th, 2010
‘50º Aniversario del Festival
del Cante de las Minas’. Miguel Poveda:
cante. Juan Ramón Caro and Chicuelo: guitars. Paquito
González: percussion. Luis Cantarote and Carlos Grilo:
clapping. Festival Suma Flamenca 2010. Teatros del Canal.
Madrid, June 10th, 2010. 8.30 pm
Miguel
Poveda, cantaor. It wasn’t a night of coplas,
but rather a night of cante... although the tickets sold
out just the same. A halt in his ‘Coplas del querer’
Tour in order to rendezvous with his essence and his early
days. Suma Flamenca 2010 wanted to pay tribute to the Cante
de las Minas Festival on its fiftieth anniversary. And it
could find no better way to represent the meaning of the
event in the Murcia-area town of La Unión than to
schedule a performance by its most famous prizewinner. So
to start off with, the cantaor recalled the cantes he was
measured with by that jury in 1993. And he did so with the
same guitarist as back then, Juan
Ramón Caro. Together with his sweet toque and
that of his sidekick Chicuelo, he set off on a journey through
mining depths, levanticas, cartageneras, Antonio Piñana,
Rojo el Alpargatero, Pencho Cros. And it was as if time
had stopped.
The lights were then turned on and there
were the percussions, the clappers, the jacket changed from
grey to black, and spirit in his throat like beyond the
usual. He sang por alegrías as if leaving his life
in them, with energy, with guts, with certain radicalism
and even, in flashes, with the humor of the maestros from
the Barrio de Santa María. Proof that he is refreshing
his usual repertoire, always within the framework of neoclassicism,
was the granaína ‘En oro y marfil’, presented
as a sort of elegant ballad, with an epilogue to a serrano
beat. And if it was a question of rhythm, “a stroll
around Triana?”. He went there to the other shore
of the Guadalquivir to seek the curved and the funny, the
uttered and the rocked. His voice said just as much as his
smile. And that’s also feeling. The audience was already
half-melted by then. And the cantaor saw that it was just
the right moment for the seguiriya, a dramatic cante which
he wrapped with effective gestures of clenched fists, fits
and fleeting regards. Perhaps a weapon which he has acquired
singing coplas and which, following the fandangos, he brought
up. “Rafael de León is now a part of me”.
There, he left his version of ‘Tres puñales’,
now then, in soleá por bulerías time. Very
intense, very emotional, very close, very Poveda.
And he started to bid farewell por fiesta.
Bulerías de Jerez, taking advantage of the rhythm
of his clappers. And then, to the Lebrija sound, decrescendo
nearly unaccompanied just as easily sticking in the lyrics
from his latest flamenco album ‘Tierra de calma’
(which those who know the copla one, which wasn’t
exactly a big hit, should also know) as pregones caracoleros.
His voice thus faded, while the theater burst into a huge,
well-deserved ovation. The gift wasn’t an encore,
but rather appearances by cantaores he is endorsing with
his new record label. On the one hand, the young veteran
Londro, who is making his début these days with the
album ‘Luna
de enero’. And on the other hand, a fifteen-year-old
boy, Kiko Peña, who he is sponsoring at festivals
and producing at the studio. Flamenco cante goes on.
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Manolo
Sanlúcar took care of opening the
curtain at the Teatros del Canal in the second
week of Suma Flamenca 2010. The guitar
maestro offered an anthological journey through
his work, highlighted by ‘Tauromagia’
and ‘Medea’. The program continues
this weekend on the same stage with ‘El
final de este estado de cosas’ by Israel
Galván, ‘Ruido’ by José
Mercé and ‘Grito’ by José
Maya and Alfonso Losa. Cantaores Jesús
Corbacho and David
Lagos, respectively, will sing in the intimacy
of the Pilar Miró Cultural Center on
Saturday and Sunday.
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