Cante; Chano Lobato, Carmen Linares, Calixto Sánchez, El Pele, Bonela Hijo, Juan José Amador, Miguel Ortega. Dance: Manolete, Javier Barón, Isabel Bayón, Rafael Campallo, Rocío Molina. Guitar: Manolo Franco, Gaspar Rodríguez, Felipe Maya, Juan Diego, Javier Patino, Jesús Torres, Basilio García, Juan Campallo. Sax: Jorge Pardo. Violonchelo: Nicasio Moreno. Actor: Juanma Lara and Kiti Manver. Music for the plaza: Banda de Música Nuestra Señora de la Paz (Málaga). Horsewoman: Marina Borja.

Text: Rubén Gutierrez
Photos: Rafael Manjavacas

EXTRAORDINARY GATHERING OF FLAMENCO

Paseíllo flamenco	Paseíllo inicial
Manolo Franco / Rocío Molina	Rocío Molina

José Luis Ortiz Nuevo was calm, and that calm demeanor affected all the members of the perfectly-coordinated mega production. At the appointed hour the big doors opened to let the artists into the ring. Like maestros of bullfighting, they made their way to the center of the ring to pay their respects to the crowd amidst an overwhelming ovation. The tail end of the procession was brought up by a horse-drawn carriage with Chano Lobato. The band struck up the first piece, the pasodoble “Francisco Rivera Ordóñez”, and everyone retired to the side. Once again the buggy to transport Manolo Franco and Rocío Molina, and needless to say, were it not for cordless mikes, none of this would have been possible. Rocío, in a white bata de cola, danced the rondeña of Don Ramón Montoya with accustomed elegance and great command of the bata, with Franco’s playing as a source of inspiration.

Calixto Sánchez	El Pele
Manolete	Jorge Pardo / Juan Diego

The production also included actors Juanma Lara and Kiti Manver who recited a variety of poems relating to Ronda, a birthplace of flamenco and bullfighting. Next up was Manolete. With a bullfighter’s pose he took his place on the central tablao and offered the first wink to the figure of Antonio Ruiz Soler. The Granada dancer’s farruca evokes the feeling of Antonio’s famous martinete in the Edgar Neville film “Duende y Misterio del Flamenco”. He was well supported by the guitars of Felipe Maya and Basilio García. A friendly tug-of-war with fandangos between Calixto Sánchez, el Pele and Bonela hijo ended with all three singing the fandango cané of Alosno. Jorge Pardo interpreted a polo with his sax, accompanied by the Jerez guitarist Juan Diego.

Carmen Linares / Chano Lobato & Manolo Franco	Carmen Linares / Manolo Franco
Rafael Campallo	Javier Barón
Isabel Bayón ante Carmen Linares / Manolo Franco	Chano Lobato / Manolo Franco

The impressive figure of a horse mounted by a woman, and carrying a banner with the image of historic singer Paca Aguilera signals a change of pace, and Carmen Linares interprets the malagueñas of the former who was born in this city. Equally impressive was Javier Barón’s dance to Chano Lobato’s mirabrás. Javier doesn’t dance, he glides across the stage delicately. After a brief rest the band played the pasodoble “Puerta Oscura” to prepare the mood for Rafael Campallo’s caña, accomapanied by Javier Patino and Rafael’s brother Juan Campallo who just returned from the La Unión contest with the guitar prize. Once again the mounted woman signals a change of pace, this time carrying the flag of Ronda for another cante by Carmen Linares: rondeñas.

This time it was the audience, not the bullfighter, that triumphantly left the bullring through the big doors

Serrana was also heard, a flamenco composition in danger of extinction, and it was well-interpreted by Bonela hijo. Then Isabel Bayón took us to Almería and danced tarantos. With a magenta bata de cola, she impressed the audience with her command, and harmonious armwork. Jorge Pardo returns, looking more like a bullfighter than ever, and the melodies he played from Ravel’s Bolero, with the sunset coming on strong, indicated this great party was coming to an end. But first, Manolete, along with Rafael, Isabel and Javier, who had choreographed a martinete for the occasion, surprised the audience, because it’s not every day you see four dancers of this caliber dancing together. All that was lacking was the fiesta finale, everyone seated in a circle in the center of this historic plaze, recreated a scene worthy of Estébanez Calderón, with cantes and dance to bulerías. This time it was the audience that triumphantly left the bullring through the big doors, and no ears or tails were cut off, fortunately, because we hope these artists continue to give us glorious afternoons such as the one we experienced in Ronda for a long time to come.

Bonela Hijo	Jorge Pardo
Isabel Bayón	Fiesta final

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Special MÁLAGA EN FLAMENCO