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Teatro
Central.
Wednesday, September 13th.
Trilogy:
Rafael Campallo, Torombo, and Andrés Marín.
ANIMATED
SKETCHES OF YESTERDAY AND TODAY
Torombo
The desplante.
The quiebro that hangs in the air; the pellizquito that insinuates.
If Rafael Campallo, clean and balanced, embodies the present of this ‘Trilogy…
(Past, present, and future),’ flamenco dancing is in excellent health today. And
remember, in flamenco everything is a question of merchandise; of tribute. Tribute
to time in a trilogy: with the three of them, time tried not to be so miserly.
The three enter,
dragging their chairs, taking turns doing a few steps, each style quite different
from the others. They outline a whirlwind, leaving an essence of dancing behind.
Three in one. But the winds were to blow unequally for these contrasting dancers
during this first performance in the Bienal at the Teatro Central,
the most modern of the city’s facilities. Meanwhile, and also completely sold
out, Sara Baras played "Juana la loca" for the second time at
the Maestranza.
After a round of
martinetes by the singers Pepe de Pura and David Lagos, Andrés Marín
appeared in soleá por bulería with violin, leather pants,
and a sleeveless black T-shirt. This is dancing with a stylishly thuggish air;
modern, without quite resorting to Plexiglas (no, not avant-garde), with scarce
taconeo, and marked by the excellent Canito on guitar, whose tricks brought
about standing applause from the dancer.
Se puso farruco,
with his arms held high. "Dance por soleá like the gitanos
dance, because you know how to dance," María Vizarraga sang to
him, standing up by his side. Touted as a disciple of Farruco, Torombo knows how
to capture the arrogance of gitano dancing and its image, with a hat on
the floor.
And
the alegrías of Campallo. Just him. In the ‘94 Bienal he
danced with María Pagés, in ‘96 with Manuel Soler and Manuela Carrasco,
and afterwards a number for two with José Antonio, and an appearance in
the group of Vicente Amigo. At his 26 years of age, and without having to contemplate
the maestro of the sketch, Israel Galván, his young elegance underscores
with escobilla sensitive signals of rupture with Sevillian classicism.
Mention must be
made of the Jerez-based singer David Lagos (he also appeared in ‘Medea’), who
truly shines at the end-of-show bulerías. At first, four more musicians
were announced, with three guitarists, three singers, and a percussionist intervening
in the abandolao conclusion to two malagueñas. After 70 minutes,
the show, which has its future assured, went back to the past: like the beginning,
a whirlwind of steps, a tunnel of time.
Luis Clemente
Translated
by Norman Paul Kliman
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