La Cuadra. “Imágenes andaluzas para Carmina Burana” Javier Conde. Teatro Villamarta, Jerez de la Frontera. Tuesday, March 2nd, 2004. 9:00pm

La Cuadra - Dance: Lalo Tejada, Marco Vargas, Francisco Carrasco, Magui Reguera, Viridiana Ramírez, Carrolina Morales, Anabel S. Gavilán. Cante: Ana Peña, Kina Méndez. Guitar: Manolo Berraquero, Miguel Aragón, José del Valle. Flute, dance and percussion: Juan Romero. Monjes: Victor Manuel Contreras, Melvi Díaz. Sopranos: Alicia Murillo, Ana Mª Giménez Valle, Trinidad Pérez Granadino, Aurora Perea Moreno, María Jesús Vilches Jaén. Monjes: Victor Manuel Contreras, Melvi Díaz. Director: Salvador Távora.

Nowadays a guitar recital with no backup musicians, a guitarist alone with his instrument, fighting to pull beautiful sounds from a piece of wood with nylon strings is no common sight ever since Paco de Lucía popularized the sextet format and an entire generation of guitarists set out on the musical adventure. So it was a genuine treat to be able to hear Javier Conde. the child prodigy from Cáceres, in the Sala de la Compañía, interpret classic compositions of Paco de Lucía, Esteban Sanlúcar, Serranito and above all Sabicas with the skill of a veteran. The fifteen-year-old who was unable to attend his own press conference because he had exams, still needs to have his heart broken a couple of times as one person commented, before he reaches the expressive level of his idols, but the hardest part, the technique, is quite nicely under control.

Javier Conde

At the Villamarta Theater, a theatrical work with flamenco references demonstrated why the vast majority of similar works don’t come off. Precisely because they are “flamenco with theatrical references” instead of vice versa. “Imágenes andaluzas para Carmina Burana” is pure, unabashed theater from director Salvador Távora, Spain’s answer to Fellini.

Things don’t need to make sense

With this provocative and fascinating production Távora seems to be saying: “I do theater with Spanish and Andalusian elements, because I am Spanish and Andalusian”. Flamenco as such is just another element among many: live horses who dance and weep paper petals, inebriated dwarf monks, a virgin who descends from above, sheds tears and rises back whence she came, wind machines, imaginary bulls and gorings, Andalusian flags, flying angels, sopranos, a strictly black and white aesthetic and an outsized iron cross suspended in mid-air which is later used to present the unsettling image of a crucified woman. In the press conference Távora explained that “things don’t need to make sense”, and the premise works because the overall effect has all the sense that’s lacking in less fortunate productions where flamenco seems merely decorated with incongruous elements.

Manuela Carpio at the Fernando Terremoto peña

The most satisfying day of the festival so far would up at the Fernando Terremoto peña with the dancing of Manuela Carpio with the special surprise treat of the Jero brothers, Periquín and Antonio Carrasco providing the sizzling accompaniment.

Text : Estela Zatania

Theater Villamarta Program
De Peña en Peña Program: Trasnoches, De Peñas, Peña de Guardia
Other shows(Gloria Pura, Bordón y cuenta nueva, De la Frontera, Café Cantante, Sólos en Compañía)
Courses and workshops

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