Vicente Amigo
“Un momento en el sonido”
monday, 18th september, 2006. 2100h. Teatro Lope de Vega

Special 14th Bienal de Flamenco de Sevilla. Reviews, programa, photos...

Text: Estela Zatania

Guitar: Vicente Amigo 2nd guitar: José Manuel Herrero. Voice: Blas Córdoba. Voice/percussion: Patricio Cámara. Electric bass: José Manuel Posada. Keyboard: Fidel Cordero. Percussion: Paquito

Sometimos “giants” can be very fragile indeed. The sleight figure of Vicente Amito hardly takes up any room at all. He sat down on the stage of the Lope de Vega theater and begain to pull delicate notes from his guitar – everything was fragile except the immense power of his creativity and technical command. The first piece was a guitar solo, in the most literal sense, without the participation of other musicians, and even the program was forthcoming: “Solo de guitarra” it said for the opening number which prologued “Un Momento en el Sonido”, Vicente’s most recent recording, with a variety of pieces played with the group that included the Camarón-sounding voice of Blas Córdoba, in addition to second guitar, electric bass, keyboard and percussion, always led by the young maestro, Manolo Sanlúcar’s disciple, but like all young guitarists today, a follower of Paco de Lucía, even though they may not realize the debt to the latter.

With his placid gaze and head thrown back as mandated by his generation, Vicente painted his personal vision with compositions that evoked fandango, alegrías, farruca and zapateado, as well as tangos and bulería, and the taranta which is the title theme of the record. Lightning-fast picado scales are being used less and less nowadays, but Vicente tossed out a few with customary ease, and the audience responded duly with cheering and applause.

It’s possible harmonized choruses were overused – a dated musical crutch many young musicians are reluctant to give up, but when Vicente announces the last number saying “I’ve tried to give my heart and soul tonight”, we know it’s true and are grateful for having been able to witness one of the great guitar masters in action.

Argentina / Daniel Navarro
Monday, 18th september, 2006. 10.00pm. Teatro Alameda

Racing to the Teatro Alameda by taxi (one wonders why they didn’t put the second show of the night a half-hour later), it was possible to just catch the final fandangos de Huelva of Argentina María López, “Argentina” for flamenco fans, the young girl from Huelva who is being promoted as “the new voice of flamenco”. If only the fandangos on her recent recording had been as good as the ones she sang last night, with classic verses of the Hermanos Toronjo and of course, “Calle Real de Alosno”.

Unfailing dignity

Alter intermisión, it was the turn of another young star. There’s far more to Cordoban dancer Daniel Navarro than meets the eye. As so often happens, his absolute command makes everything look easy, and you begin to wonder if there isn’t some sort of trick floor that allows him to make such perfect contact. Daniel’s svelte form seems to glide effortlessly across the stage with the aplomb of an ice-skater, yet there is a driving power and precision in everything he does, “tense calm” like the newscasters say. But above all, there is an unfailing dignity which is more than welcome in this day and age of excess movement and flamenco dance as gymnastics. Daniel Navarro’s elegant dancing is wonderfully placid, without ever falling into coldness, and it doesn’t rely on the complex footwork he executes with such apparent ease. In fact, the elements he gets the most out of are his shoulders and wrists. That’s right – his wrists. At certain moments, and to great effect, he lets them go limp, a surprisingly effective and original gesture.

The long bulería that Navarro makes into a substantial dance, with some cantes from Extremadura to justify calling the number “jaleos”, is excellent. In the alegrías, the dancer wears a mysterious color reminiscent of ripe watermelon, and white shoes, and dances with even greater self-confidence, turning out some wonderful details that send an electric charge though the whole audience who do not hold back with their cheers and applause.

Granada singer Antonio Campos is outstanding, as is guitarist Juan Requena. Guadiana and Juan Manzano “el Coco” hold their own. Daniel Navarro, in a word, is impressive.

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Special XIV Bienal de Flamenco. Program, reviews, photos