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Thursday
September 7th.
Real Alcázar (Royal Palace), Seville.
EL
PELLIZCO DE JEREZ
(THE JEREZ PINCH)
La
Paquera de Jerez
Guitar:
Manuel Parrilla
La Paquera de Jerez
The passing of
the Bienal of Seville in the setting of the Royal Palaces, with the waxing moon
and the Giralda (famous tower of Seville) looming above the artists has concluded,
but at least La Paquera appeared. "Eje (yeah!) " was the first thing she said,
the audience was already with her. With her 66 years, and looking better than
she has on other occasions, La Paquera started up with bulerías por
Soleá. "Without any hojaneta (falseness, hypocrisy), I have
a lot of love for Sevilla. Here on this very patio, Terremoto and Morao brought
me out when I was a girl, and here I am still." She traveled so much in time that
she accidentally called Parrila by the name of Morao and excused herself, "I made
a mistake, it doesn’t matter, they’re both named Manuel." She continued her recital
with the most uplifting palos (branches), tangos and bulerías
that brought out the first shouts of "Ole" to be heard within the last three days
that the Bienal has been going on. And when it seemed like she was going to stop,
with the audience standing up, "Now Parilla is going to dance." And she takes
his guitar away, sings without a microphone and gets Parilla to do a few little
steps that are finished off by a nice pinch in the butt by the energetic Paquera.
Long live Jerez.
José
Menese
Guitar:
Quique Paredes
José Menese
In another world
of song lives José Menese, one that reclaims a Flamenco that is not done
anymore, and from some traditions has been made extinct. A savior of lost songs,
in his performances he often uses little known palos, in this way opening
his recital with Bamberas, although he later continues with a return to
the traditional tientos, soleares and seguiriyas.
The
Montoya Family
Familia Montoya
Familia Montoya
The end of the
night closes with the compás (rhythms) of a Sevillian family of
Flamenco tradition, the Montoya family; festive songs, bulerías
and tangos with choruses of four voices, the dancing of Carmelilla doing
Alegrías and the helpful bolstering of three young guitarists. Their
appearance in the Bienal served to promote a piece that will be included in their
next album, within a repertoire of few surprises, and with a lighting crew that
searched with little luck for the dancers, sending spurts of light that went on
and off out of time.
José
Carlos Morales
Daniel Muñoz
translated
by Jessica Lorber
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