“Voces de Lebrija” Thursday, September 30th, 2004. 9:00pm Teatro Lope de Vega, Seville       Program XIII Bienal de Arte Flamenco Seville

Daily coverage BIENAL DE FLAMENCO sponsored by:

Cante: Curro de Malena, José Valencia, Manuel de Paula. Sevillanas: Juana Vargas, María Jesús García, María Peña. Guitar: Antonio Malena, Antonio Moya, Manuel de Palma. Palmas: Francisco de Paula Carrasco, Luis Carrasco. Master of ceremonies, script and director: José Luis Ortiz Nuevo.

It’s unfortunate that nowadays flamenco derivatives can be presented in a spectacular way thanks to the generous financing they enjoy, while the most traditional artists often are forced to offer a sadly humble, limited and outmoded look to the general public since they have to make due with limited resources. It’s possible as well that those same traditional artists, with an attitude that is as flamenco as their performances, fail to tend to the details of staging, lighting, amplification and other concerns formerly not related to flamenco. This was the case with the people from Utrera three weeks ago, and the same flaws were repeated on September 30th by the group from Lebrija.

The absence due to tragic personal circumstances of Inés Bacán, an important cog in the wheel of Lebrija cante, did not augur well for a successful evening. The voice of director José Luis Ortiz Nuevo began by informing of the change of program which he dedicated to Inés. The three singers started with tonás followed by Curro Malena, the most experienced and polished of the group, por siguiriyas, young José Valencia por tientos and Manuel de Paula por soleá, each with his own guitarist. Discreet but dignified.

Ortiz Nuevo then explains that not everything is bleak and tragic in Lebrija and the traditional sevillanas corraleras, a Lebrija specialty, are needed to cheer things up. Three charming older ladies appear on stage to sing a capella with their rancid voices to their own percussive accompaniment, the one about “the cat on your roof, imagine that, lalala…” who “scratches his belly with a roof tile”. Then more sevillanas with guitar and palmas, and more…and more and more…and it just doesn’t wash, and the members of the audience start slipping out for a smoke, inventing their own intermission.

After the real intermission, we return prepared to forgive and forget, but aside from a guitar solo by the three guitarists “Remembering Pedro Bacán”, and some wonderful alegrías (cantiñas) of Pinini dedicated to Inés and sung by José Valencia, the flow once again deteriorates. The unmistakable compas and aroma of Lebrija bulerías with songs of Chozas and Antonia del Pozo is a delight, but all too soon we’re in the middle of a baptism-style fiesta, charming but far too long, the kind of fiesta all flamenco fans are familiar with and whose enjoyment is irrevocably linked to folding wooden chairs, naked lightbulbs hanging from the ceiling, plastic cups and unruly children. From a cushy theater seat in the hushed darkness of the Lope de Vega, unfortunately, it just doesn’t work.

Inés Bacán 'Soledad sonora'