Estrella Morente. Festival Bankia Flamenco 2012

Cante: Estrella Morente. Guitar: Montoyita and Monty. Chorus and Palmas: Ángel Gabarre, Antonio Carbonell and Kiki Morente. Percussion: Juan Carmona Jr. and Popo

“MORENTE AND THE (HIS) PEOPLE”

The Bankia Flamenco festival, formerly Caja Madrid, is two decades old – this is the twentieth anniversary of the wintertime marathon offered yearly to Madrid flamenco fans. 

Getting down to the nitty-gritty at the Price Theater which last night filled up to receive the Morente universe once again…  For the moment, and while we’re waiting to see the evolution of the younger siblings, it’s Estrella who gives us our dose of Morentism so needed in these parts.

And along with her, was the group…tremendous, wonderful, like a symphony orchestra to back up the songs, perhaps a bit too histrionic and over-the-top, but they were good and could do anything.  But that was also Enrique’s way, the matador with the flashy team despite being entirely self-sufficient.  And so it goes…

In fact the direction of the whole recital was a nearly precise copy of the last prototype “show” mapped out by the always creative Enrique Morente Cotelo.  From the first cantes a capella, to the theatrical finish, Estrella and friends, each one perfectly in character.

The singer had an especially clean delivery last night, and exhibited a more populist facet than strictly flamenco.  With some truly great moments, for example in the first caña and in the fandangos abandolaos and malagueña that ended the first part.

Even so, Estrella is a carbon copy of her maestro and father when it comes to melodies, verses and stage presence.  It’s only logical and normal, no one better to do it.  But for that reason we long for her recording, the one she talks about.  To see, feel and hear the bravery which, it must be said, must also exist in her genetic make-up.

Having said that, the fact is the second half was the best part of the recital.  Because despite resorting to the most popular and festival flamenco themes, what came out was closer to who she is.  The taranta, soleá por bulería, tangos de Granada and sevillanas which evoked Lola Flores and everything that had gone on at Lola’s “Lerele” villa.  The second part included a glorious siguiriya with original ending (they say Pastora Pavón was told women couldn’t sing siguiriyas).  And this was where you could tell that in addition to gunpowder, this woman has plenty of petrol in her as well.

Thirteen pieces and a choreography to end, with a wink and a nod to Carmen Amaya’s neighborhood of the Somorrostro alluded to by Estrella who knows how to long for the roots and dress them up with a great deal of talent.  Like when Enrique painted.

A kind of flamenco born of the people and aimed at the people, sometimes with a few side-trips, but generally speaking an overall sense about how to find the paths that lead to the best landscapes.

And that was that, plunging into the effusive audience to garner yet more favor with the people of Madrid, touching them at their most vulnerable level with a schotis.  A gift for the ears and for some people’s hands.  There were those who reached out to touch the person who seemed almost unreal on stage.  But yes, she’s flesh and blood, just like her people.