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THE NAME OF THE FATHER
Text: Manuel Moraga
Estrella is back, and alongside the maestro. It was
the first time they’d shared an important stage. Córdoba
was where Morente made his debut at the age of eighteen, so
everything seemed to be in place for a historic event.
Click to enlarge images
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Photos:
Rafael Manjavacas
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And so it was. For nearly three hours we were able to sit
back and enjoy the Morente product delivered with heart and
soul. The recital was divided into three parts: Morente, Estrella
and the two together, with generous curtain calls. For a backdrop,
the tribute to the famous Concurso de Granada of 1922, and
the Concurso de Córdoba of 1956, two magnificent high
points in the history of flamenco. But the night was also
visited by the spirits of la Niña de los Peines, Fernanda
and Bernarda de Utrera, and of course, Enrique himself.
Morente was classic, extremely so, because some of the styles
were impregnated with a feeling of times past. As has been
his custom lately, he began with bulerías a capella
in a circle. From that point on he took us by the hand through
mirabrás, cabales, soleá and siguiriyas with
ever-increasing intensity.
Some words from the maestro served to introduce Estrella’s
show “Pastora 1922”, a tribute to the intellectuals
who took a chance with that legendary contest in Granada:
Falla, Lorca, Zuloaga, Gómez de la Serna and others.
It started out with the projection of images recalling the
era, many related to the contest itself, and ending with others
of the Civil War. From off-stage Morente’s voice, and
a cuadro flamenco from Granada appeared representing the flamenco
tradition of Sacromonte.
After this group, which consisted of Remedios Heredía,
La Loles, La Porrona and El Iván among others, Estrella
came on to pay tribute to the most important woman in the
history of flamenco: Pastora Pavón, La Niña
de los Peines, whose image was present on stage. The Bandurrías
group of Albaycín accompanied Estrella for tangos and
fandangos from that beautiful neighborhood of Granada. Then,
with her uncle Montoyita, she offered an assortment of styles:
malagueña, granaína, soleares, tientos-tangos,
taranta, etc.
Estrella’s voice has matured since her beginnings.
Her low register has improved and at some points almost seems
about to break, and yet she’s capable of limning absolutely
angelical melodies. Add to this the combination of her father’s
musically complex style, with a touch of the gypsy from her
mother’s side of the family – Estrella’s
singing is full of contrasts and shading.
Two hours into the program, Estrella invited the maestro
to join her, and together they heated things up, “even
more than they should have” in Morente’s words.
But it just couldn’t be avoided. The curtain calls came
one after another, and that was when Morente was outstanding,
concentrating on original compositions from throughout his
career. And you can tell Estrella really enjoys singing her
father’s material.
Finally, the bulería finale, with emotions running
high on stage and throughout the audience. Three hours had
passed, and a light breeze had come up bringing the aroma
of jasmine from the Alcázar entwined with the spirit
of Pastora. The father, the daughter and the holy flamenco
spirit were all invoked in the same moment of time.
Photo: Efe
More information:
Interview
with Enrique Morente – July 2003
Estrella Morente
at the Festival Internacional de Cante de las Minas
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Estrella Morente
'Calle del aire'
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Estrella Morente
'Mi cante y un poema'
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Enrique Morente
'El pequeño reloj'
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