Ciclo «Ases del
Flamenco» Sala Clamores – June 9th-2005
ALWAYS THE SAME, ALWAYS DIFFERENT
Text: Manuel Moraga
Photo: Rafael Manjavacas
The program had promised the extra added attraction
of once again seeing Juan Habichuela on stage along with Chano.
However, health problems made a substitute necessary, and
another Granada guitarist, Paco Cortés sat in.
As one of the last links in a chain of Cádiz maestros,
Chano Lobato has become a cult figure. He not only attracts
the most veteran flamenco fans, but young people and the curious
as well. He really has the audience in the palm of his hand
from the first moment on stage, and should be seen at every
opportunity because although he has his set bit, he always
has something new to offer.
For example, the opening was different. Instead of a brief
greeting before singing (as is his custom), Chano began with
lengthy anecdotes before delving into tangos, his first cante
of the night. He told us about Carman, his now famous doctor
who makes his life miserable, and Madrid’s “treasure”,
wishing the best of luck to Alberto Ruíz Gallardón
so that he may find it as soon as possible to stop digging
up the streets.
Also
different was the repertoire – the same forms but different
cantes (malagueña of Mellizo instead of Chacon’s)
and bulerías which included fandangos and even cartagenera
and liviana to precede siguiriya and caña, complete
with its traditional closing, all in bulerías.
Chano’s talent for passing from one emotional state
to another is noteworthy. One minute he’s telling some
crazy anecdote, and a few seconds later he’s warming
up exquisitely for soleá, getting it just right and
communicating. Just as he moves from siguiriyas to tanguillo
as if it were the most natural thing in the world, giving
each style its due, its corresponding grace and drama.
As is the custom in this venue, the show was divided in two
parts and the audience demanded two curtain call cantes. It’s
only logical because seeing Chano, time flies and you’re
always left wanting more. Despite his keeping to a set repertoire,
the maestro from Cádiz has the gift of surprise, because
only genius has the ability to be fresh with each performance.
