Fernando Terremoto “Calendario”
Monday, October 2nd, 2006. 9:00pm. Teatro Lope de Vega

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

Text: Estela Zatania

Cante: Fernando Terremoto. Music director and guitar: Alfredo Lagos. Guitar: Antonio Higuero. Percussion: Luis Amador. Double bass: Miguel Vargas. Viola: Rafael Fernández. Palmas: Manuel Salado. Chorus and palmas: Encarni Benítez, Mibe Vargas. Guest artists: Luisa de Terremoto, María Márquez, La Yoya, La Currita. Special guest artist: Manuel Moreno Junquera “Moraíto”.

Fernando Terremoto brought three good solid guitarists from his town of Jerez. Antonio Higuero, Alfredo Lagos and the one who most represents the spirit of Jerez, a man who figures on everyone’s short list of favorites, Moraíto. The singer also came with the typical chorus of voices and palmas, as well as an upright bass, viola and the inevitable percussion. The recital opens with the whole group on stage, and the sight of Fernando triggers a warm ovation that reflects and reinforces all the expectation. Now, when it’s been exactly 25 years since his father’s untimely death, the son has come to stake out his own vision and personality. “Calendario” is the name of the show, and the sybolism is not lost on anyone.

The singer’s enormous voice immediately reaches every corner of the Lope de Vega all those congregated within. Bulería por soleá, or “bulería pa’escuchar” as they say in Jerez, briefly without guitar recalling how these cantes, which are neither slow bulerías nor fast soleares, were originally sung. The guitars of Higuero and Lagos get working in stereo, one on either side of the singer, serving up a straight-ahead Jerez sound.

The dilemma of reconciling past and present, traditional flamenco and flamenco for the commercial arena, cultural obligations and personal quest.

Fernando then sings a version of one of Camarón’s creations from thirty years ago. “Canastera”, though in a 3-count measure, projects a feeling of slow tangos. It was extremely popular in its day and in many ways was the first clear sign of the revolution that would go into high gear several years later with the Leyenda del Tiempo. Terremoto sings original verses, but when the rhythm accelerates, the words “Ha de ser mi compañera...” trigger a flood of powerful memories evoking the era.

And yet another siguiriya with percussion, or serranas at any rate, done at a fast clip but traditionally and well-sung. Higuero plays a guitar solo, crisp and modern in just the right degree. When he finishes, there is a long wait in the darkness before Fernando appears with his guitar. We know he used to be a guitarist, but the image of Terremoto accompanying himself like an Andalusian Bob Dylan takes some getting used to. We make a big effort to assimilate and support the risk involved. His original song in slow bulerías is short, and the effort to do things which are new and daring is much appreciated, but we do prefer Fernando the flamenco singer.

With viola and the guitar of Alfredo Lagos, the singer interprets malagueñas, followed by the oddity listed in the program as “Seguiriya por soleá”. Alfredo’s guitar solo is impressive – aside from the music itself and the technical command, he pulls fine lovely tones out of his instrument.

When the singer returns his voice is seriously hoarse, but he bravely continues, presenting “my great cousin Morao”, who appears with less hair and more flamenco, if that’s even possible. Classic tientos end like in the old days, without the long tango set. Fernando, with his voice now approaching a croak, doesn’t surrender and places himself at the edge of the stage to sing tonás without amplification, and miraculously, it works. He turns the diminished voice into his greatest ally as it gives him something to wrestle with, and there are nuances not usually present – this is a true artist.

The rest of the group comes back on stage and with a modern-style bulería in mayor key you wonder whether they’ll ever get to Santiago, but the journey’s successful end is guaranteed with the participation of the older ladies with their ruffles and polkadots, their little dances and the neighborhood beat.

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Special 14th Bienal de Flamenco. Program, reviews, photos