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ANEMONE
PLEASURE
(ADIOS)
Ceremony
and closing concert ‘Con Fusión’
Enrique
Morente with Lagartija Nick, Diego Carrasco, El Barrio, Ketama, and Enkay
Estadio
Olímpico
Saturday, October 7th. 8:00 PM
Diego Carrasco
The Bienal
came to a close with an increasingly sophisticated round of tonás.
A string section was added to the voices of Pepe Luis Carmona, Arcángel,
Segundo Falcón, the brother-in-law of Morente, and Morente himself, opening,
closing, and running the show in the quiebro of a capella solo percussion
that put an end to the XI Bienal…
Ketama
Strange ways. Of
the over 7,000 spectators, it was the first time for most in the Estadio Olímpico,
with two stages alternating performances.
Morente and his
abstract project. In his vision of flamenco on a reed chair he managed to work
mirabrás into his cantiñas on bulerías por
soleá with his Montoyita. Afterwards, part of the Orquesta Andalusí
de Tetuán, the dancing group Amal Dahabia, Gnawa music, winds of the Atlas
por tangos. Percussive trance. Seguiriyas and chainsaws: ‘Omega’
(the fragment danced by Israel Galván was fascinating) and ‘Aleluya.’ From
‘Lorca,’ he sang "Los saeteros están ciegos" and also the seguiriya
de Lacherna that he recorded in two versions 23 years ago: ‘Mírame
a los ojos.’
Enrique Morente
Following the cancellation
of Navajita Plateá, the first groups opened up in the following order:
Enkay muddied the example of feedback (how the Cádiz natives acquire Madrid
ways), with bulerías that ended awry. Ketama offered their greatest hits,
Cuban rap, Black Cherokee, local kids, and whatever else might work. There was
plenty of everything, including complaints at a technical level that were not
unjustified. Disastrous sound system: ‘Mal de amores,’ from their third recording,
was really mal.
Raimundo Amador
Alahea.
The atomic bulería. Diego Carrasco joined Bola and his gang with
Tino di Geraldo, Carles Benavent, and Jorge Pardo; as well as Raimundo Amador
transforming elements with ‘Química,’ but only half a performance for ‘Poeta
de Cai’, intro and coda "travilitrán," smelling like new
pine nuts.
Diego Carrasco
Coming in for a
landing, after a flight round the flamenco world in 33 days. With the low-level
flight of his silky rajo, Morente, whose talent and wisdom allow him to
surpass the strict flamenco coordinates, was the cantaor for the end of
the century. Of the Bienal. Despite it all, it’s been a pleasure.
Carles Benavent
Luis
Clemente
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