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Antonio
Canales Dance Company: "Bailaor"
Maestranza
Theatre.
Saturday, September 30th, 9PM
"BIRLAOR"
(Knock off Artist)
Canales was warmed
up. After the punches that they gave him in New York (Canales reported the New
York police for maltreating him in the airport on his way to Venice for the screening
of the film, "Vengo"), he arrived fighting against rancid criticisms
from Seville and the surrounding areas. He arrived suddenly and on the edge.
A new irony of
the world premiere: from a succession of numbers without scenography (the canvas,
nonexistent: wooden chairs painted white, a moon, a sun?) and from the dancers,
like his right hand dancer, Juan de Juan, another one to give fame to Moron, Pepe
Torres and two Sevillians from Las Tres Mil that repeated their nervous
bulerías for the fourth time in the Bienal, Bobote y Eléctrico.
Coming out on stage,
they present the decked out singers and dancers, present their bulerías:
Guadiana-Canales, Londro-Eléctrico, Pepe Luis Carmona-Juan de Juan, Guadiana-Bobote,
Londro-Pepe Torres. Montse Cortés also intervenes a little throughout the
show; she sings in the despedida to Canales; he brings out her little boy
to dance; like always, a world premiere.
Welcome to the
gallery of tacón. Hypertrophic Canales, who, without moving, dedicates
himself to accompanying the music, from bulerías to seguiriyas,
with some histrionic gesture that managed to exaggerate his successor, more spirited,
more light, more distanced from him, Juan de Juan. Symmetric leaps. In trio, with
María del Mar Martínez, homage/ridicule in mirabrás
to Los Bolecos ) Hypertrophy: excessive growth of an organ) (Histrionic: acrobat
with affectation.)
Proud, overdone
dances that choppily break the rhythms, leaving no margin imagination. But this,
yes: two spotlights for Canales, saving a long finale for his typical soleá
of Cádiz, showing off his uncensored proudness, a parody of himself under
roaring applause.
"Huelva,
the essence of fandango"
Marina Heredia
Peña Niño Ricardo
Hotel
Triana
Saturday, September 30th Midnight
NIGHT
OF THE BROKEN FANDANGOS
They wrap up the
farewell of the Hotel Triana´s series "Territorios" with a string of
fandangos brought from Huelva… el ciento y la madre directed by Antonio
González "El Raya", director of the "Anthological history
of the fandango of Huelva", a box that contains 12 CDs and a book. Vibrant
moments of fango didacticism. More than one hundred singers. The first part is
divided into five branches fandangos, those of Almonaster, Andévalo,
Cerro de Andévalo, Valverde del Camino-Calañas and Encinasola;
in the second part, the students from the Amparo Correa Foundation are presented
and they act out the styles of Huelva (City) and Alosno and… All solemn and measured,
with presentations of styles and substyles. During four hours. Plus.
So we take advantage
of the opportunity to escape for a while and loose ourselves in the faraway place
in the city were we listen to (and see) the most beautiful flamenco singer: Marina
Heredia. How could she sing in a small peña, without microphone,
at half voice, with her eyes half closed? Divinely: alegrías, taranta
and cartagenera, soleá with memories of potters and tientos
with tangos of Granada that start with and emotional round. Her Morente-style
(friend of Estrella) and her 20 years of age are, more than a hindrance, a catylist
for her career. One of the most modern, with ancient songs that this Granada based
singer sweetens in her manner with hard pains: trilla, carcelera
and martinete to start the second part of hardcore seguiriyas and
brave fandangos, finished off with bulerías. Accompanied
by the, not so pretty, Emilio Maya, but she showed her best side with the delicate
sparkle in her eyes.
Luis Clemente
Translated
by Jessica Lorber
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