|
Serranito.
Monday, September 11th.
Lope de Vega Theater.
THE
ATRIBULATED GUITAR
With grief (Why
did Serranito feel the need to appear before the "Concert of Aranjuez,"
just so he could make himself nervous in front of a young orchestra?), this is
how he saw off "Two Worlds and One Guitar," as he bit into the neck
of his guitar with his left hand. Meanwhile, the orchestra played an impressive
debut. Serranito started off alone with his Soleá, warming up with sweetness
and dexterity, drawing out harmonics with his thumb and maneuvering his long riffs
up and down the guitar. The same goes for the fine strokes of the Taranta.
Flavorless classical playing, with finales that lacked flourish.
Bobote and Eléctrico
come on stage, adding compás to the Alegrías, and Perlo sits
himself to the left of the guitarist, adding glamour to the back of the stage
with the image of his mother, La Perla of Triana. As an irritant, the bad sound
quality added to the guitar being overpowered by the palmas. After a few
notes of Alegrías, Perlo leaves his place next to José Carlos
Gómez, second guitar player for the lukewarm bulerías. He
asks permission for the children of La Perla to come out on stage, por bulerías,
and there they go. Perlo recently edited his seventh book: "The lyrical man
and Flamenco themes (El hombre lírico y temas flamencos)" and sings
to his sisters Antonia and Encarnación, this coming from "Triana Pura"
the group with arthritis for tangos.
With the three
brothers dancing, the first part of the show ends. The second part opens with
the three fragments of "Pure Rhythm (Ritmo jondo)" by Carlos Surinach:
a brief Bulería, a delicately camouflaged Saeta and a playful garrotín
with xylophone. The subtlety of the members of the Orchestra is their major influence
from the Young Orchestra of Andalucia. Next comes a difficult piece by Roberto
Gerhard, based in Alegrías and Farruca that continues to
showcase a well-prepared orchestra, directed by Ignacio Yepes (son of Narciso
Yepes).
Tribulation: pain,
adversity or moral affliction. In the "Concert of Aranjuez" of Joaquín
Rodrigo, the moments of difficulty for the soloists became apparent, the guitars
went cold. You suffered with them. It was clumsy in moments that were apparently
comfortable. To top it off, the orchestra overpowers Serranito.
Luis Clemente
Translated
by Jessica Lorber
|
