All the information IX Festival de Jerez

Dance: Ana Morales, Fuensanta ‘La Moneta’, Belen Mora, Encarna López, Nani Paños, Daniel Navarro, Pedro Córdoba, Álvaro Paños. Cante: David Palomar, Antonio Campos, Sabrina Romero, Miguel Rosendo. Guitar: Ricardo Rivera, Keko Balomero. Piano: Sergio Monroy. Bass, double bass: Alejandro Benítez. Percussion: Sabrina Romero, Paquito González. Choreography: Javier Latorre. Musical arrangements and director: Ricardo Rivera. Audiovisual: Álvaro Bejines, La Mirada Oblicua.

Text: Estela Zatania

At the Villavicencio Palace two young artists shared a double bill for the last recital of the series “Los conciertos de palacio” of this year’s Festival de Jerez. Guitarist Juan Diego, whom we saw at the Villamarta theater with José Mercé’s group, played a series of pieces from his record “Luminaria”, with sweet sound, a light touch and the subtle percussion of a jug. Young Triana singer Rosario la Tremendita opened the cante portion of the show with martinetes which gave an idea of the maturity and preparation of this young lady who won the Manolo Caracol prize at Cordoba’s last Concurso Nacional. She used her fine, slightly frosty voice to paint subtle melismas for granaína, but was also strong for soleá por bulería, alegrías and bulerías.

At the Villamarta theater the well-known choreographer Javier Latorre presented “Triana, en el nombre de la rosa”. For those who didn’t live through the era, or don’t know the story behind the work, particularly non-Spaniards who made up a clear majority of the audience, trying to relate audiovisual moments, candles, the morbid ambience and roses galore which decorated an otherwise sullen wardrobe done in tones of grey and rose, was daunting to say the least. It was insufficient symbolism to tell the story of the young musician, Jesús de la Rosa, founding member of “Triana”, the most representative “flamenco rock” group, if not the first, who lost his young life in a car accident over twenty years ago after having reached the pinnacle of fame.

A well-meaning, earnest endeavor put together by experienced professionals that just doesn’t come together – it happens sometimes

So it seems wise to comment on the show itself without considering the emotional underpinnings. The bulería “Abre la puerta niña”, a hit at the end of the seventies, immediately transports those of a certain age, but Latorre had the good sense to update the music which accompanies all the pieces. Sung melodies, from any musical genre, usually resist the passage of time well, but musical accompaniment is highly susceptible to becoming dated, and the original arrangements of the group Triana, especially the central role of the organ which was so popular twenty-five years ago thanks to the newly-created technology of the synthesizer which allowed any instrument to imitate any other, was quite a novelty and was greatly overused. Only in the brief intervals between numbers were we able to hear samples of Triana’s original recordings.

The group choreographies are repetitive and plain – you learn what it feels like to be the mirror in a dance class. Nevertheless, two young dancers stand out: Daniel Navarro with his inspired compás and stylized line, and Fuensanta la Moneta, who should have been in the Villamarta with her own group. Latorre’s eye for talent was keen enough to allow both dancers their solo spots, and Fuensanta’s siguiriya not only showed the strength and temperament acquired during her formative years in the Sacromonte caves, but triggered the most impassioned cheering of the night.

In the most general terms “Triana, en el nombre de la rosa” is a well-meaning, earnest endeavor put together by experienced professionals, but it just doesn’t come together – that happens sometimes – and the overall effect falls flat.

At midnight in the Sala la Compañía, Californian María Bermúdez had the opportunity to show that foreigners can learn to do credible flamenco in Jerez where the dancer has been living for years. With the first-class collaboration of guest artist José Vargas “El Mono”, king of festive flamenco, in addition to a solid backup that included singers Manuel Malena, Miguel Rosendo and Ana de los Reyes, guitarists Pascual de Lorca and Jesús Álvarez, the percussion of Jesule Grande and the palmas of Luis de la Tota, María was more than competent for siguiriyas, tangos marianas and bulerías.

But the nights of the Festival de Jerez never end until you’ve had one for the road at the peña, on this occasion the peña Tío José de Paula which offered the voice and guitar of Eva and Domingo Rubichi.