Compañía Antonio Gades
Antología: “Carmen”
Saturday, 23th september, 2006. 8.00 pm. Teatro Lope de Vega

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

Text: Estela Zatania

Not all tributes, just because they’re called tributes, are apt for public consumption, despite all the best intentions in the world. Two days ago the Compañía Antonio Gades offered a sentimental journey through two classic works of the dancer who is remembered as one of the great creators and renovators of Spanish dance. That night disaster was averted by just a hair’s breadth thanks to the heroic efforts of Adrián Galia, the group’s lead dancer, and an emotional ending that bordered on cloying. Pity it didn’t all end then and there with the heartfelt applause and cheers of admiration from the audience. No one doubts the contribution of the man from Alicante, but his memory was not well-served last night with the revival of Carmen, a show which debuted in Paris in 1983 and was later made into a full-length film by Carlos Saura.

The choreography that caused a sensation in its day continues to be valid...all the applause is for Antonio Gades

The outmoded presentation at Seville’s Lope de Vega Theater had the whiff of those leftovers at the rear of the refrigerator that you can’t bring yourself to throw away because “someone might use them”. But we all know there’s no alternative, what past its “best by” date is best tossed in the bin. Nevertheless, it’s a great mistake to point to the revival of Carmen as proof of the need for evolution in Spanish dance or theatrical flamenco. A show from the 2005 Festival de Jerez comes to mind: the classic Sombrero de Tres Picos y Bolero de Ravel by the Antonio Márquez Company. On that occasion the extraoardinary professionalism of all the components and the brilliance of the production had the whole Villamarta Theater rocking, and the show received the critics’ choice award for best performance of the festival in a bill that included stars such as Eva Yerbabuena, María Pagés and Israel Galván.

Therefore, scientifically speaking, Gades’ greatness remains intact and we can only his artistic heirs are to blame. The role of Carmen was outsized for Stella Arauzo, a competent but uninspired dancer whose age and appearance don’t match the part. The stage direction was ham-handed and irregular at times, not worthy of the perfectionist Antonio Gades.

Only the fiesta scene really came to life, a good old-fashioned flamenco party: the singers dance, the dancers dress up, they sing, and the good mood is genuine thanks to the nature of bulerías. As for the rest, the combination of classical opera and flamenco dance is skillful, and the choreography that caused a sensation in its day continues to be valid. Unfortunately the artistic direction is not up to par and all the applause is for Antonio Gades.

Cante de La Unión
Saturday, September 23rd, 2006. 1130pm. Hotel Triana.

At the same time the Gades Company was groping to relive the past at the Lope de Vega, on the other side of the Guadalquivir river at the Teatro Central, Ara Malikian was painting the possible shape of things to come with the notes of his violin in the show “Manantial de la Felicidad” with the guitar of José Luis Montón. Described in the program as a fusion of Spanish, Syrian, Lebanese and Turkish music, the cast also included dancer Olga Pericet, the voices of Miguel el Picúo and María Berasarte, the double bass of Miguel Rodríguez and the percussion of Jorge Tejerina.

And at the outdoor patio of the Hotel Triana, with the chill of threatening rain that never materialized, five young singers, former winners of the Lámpara Minera, highest prize of the Festival de Cante de Las Minas de La Unión, one of the oldest flamenco festivals in Spain, offered their versions of classic cantes, particularly Levante forms. Considering not only the weather, but the flamenco taste of Western Andalusia, the nearly full patio indicated the level of serious flamenco fans’ interest in hearing cantes which for many may seem strange and even exotic.

Gema Jiménez	Rocio Segura (arriba) - Rubito hijo con Antonio Carrión (abajo)

With the Lámpara under their arms, these young singers are seeking to carve out a niche in a market that has little room for traditional cante.

The coveted Lámpara is awarded to the singer who wins first prize in mineras and at least one other mining form. From Almería, Jaén, Osuna and La Puebla de Cazalla, respectively, are Rocío Segura, Gema Jiménez, Manuel Cuevas, Raúl Montesinos and Rubito Hijo who filled the Triana night with sounds of Levante.

Perhaps it’s the same thing that happens with wines that have official “denomination” and which are best enjoyed in their place of manufacture. If the previous night the Hotel Triana was the scene of another classic recital, dedicated to the memory of Seville singer Carbonerillo, the night of La Unión did not match that level of quality. Once again we have to blame, not the concept but the interpreters: five young hopefuls who prepared specifically for La Unión with a type of sweet lyrical voice that corresponds to a specific repertoire and who now, with the Lámpara under their arms, are seeking to carve out a niche in a market that has little room for traditional cante.

In addition to the tarantas, tarantos, levanticas, mineras and cartageneras one would expect, there were fandangos, granaína, siguiriya and tientos tangos with a noteworthy lineup of guitarists that included José Luis Postigo, Antonio Carrión, Paco Cortés y Eduardo Rebollar.

More information:

Special XIV Bienal de Flamenco. Program, reviews, photos