1st part. Cante: Juan de la Alpujarra. Guitar: Frasco Santiago. Cajón: Antonio Gómez “Kadu”.2nd part.Dance: Fuensanta “La Moneta”. Cante: José Valencia, Miguel Lavis, Enrique “El Extremeño”.Guitar: Miguel Iglesias, David Carmona.
The second day of this year's edition of the Nimes Flamenco Festival brought the first conference of the cultural agenda with Jean-François Carcelen, “The flamenco territories: itinerary of a nomadic art”.And in the evening, another shared recital of French artists in the first part, and Spanish in the second.
And once again the French defended the more experimental flamenco while the Spaniards held up the conservative line.The singer from Marseilles, Juan Gómez, “Juan de la Alpujarra”, 32, came accompanied by another man from Marseilles on guitar, François Santiago “Frasco” and percussionist Kadu.Just when the opening cajón solo was getting everyone antsy, the singer appeared and went straight into tonás.Though not a Camarón clone, his way of drawing the melodies is clearly anchored in the Camarón school, and he has some unexpected twists.A little too “unexpected” perhaps.He dwells on notes not part of the scale, and far from being a minor detail that can only be of interest to musicians, it throws the casual listener.But this isn't a singer to be taken lightly, in fact, he is a charismatic performer whose flaws you want to overlook.
In the cante de levante you begin to take note of the guitarist.Frasco Santiago has advanced technique, sensitivity and knowledge, although he gets carried away at times with his own virtuosity.He plays a solo to the compás of soleá por bulería that manages to hold the interest despite its excessive length.Soleá with the singer who continues to carry out unusual melodic excursions, although classic styles of Torre, Alcalá and Frijones are easily identified, ending with bulerías.
Foto: Rafael Manjavacas
A hot-line straight to the collective gooseflesh
After intermission, we go straight to the caves of Albayzín in Granada with the temperamental dancing of young Fuensanta “La Moneta”.She's a dancer you can find fault with if you want.The adrenalin flows at top speed every instant leading to some brusque movements, and there's an excess of “window dressing”, the urge to sell.Nevertheless she has a special spark that keeps you from glancing away.No one comes away unmoved after seeing La Moneta.
She begins with alegrías in the most classical old style, wearing a white bata de cola and recalling wonderful poses of Carmen Amaya.It's as if she ended up with all the temperament so sorely lacking in other current flamenco dancers.Some people would say she lacks placement.It's possible, but her communicative ability makes you want to forgive everything and tell her “thank you” for returning us to a time when flamenco was less cerebral, more instinctive.The audience reaction is immediate, many major stars would give anything to have that kind of hot-line straight to the collective gooseflesh.
In my opinion, that first dance was the best and most sincere of the three interpreted by the dancer.Next up is a guitar solo that leads seamlessly to a farruca where la Moneta appears in trousers and short jacket, looking even more like the mythical Amaya.Soleá without guitar from the excellent trio of voices, Enrique Extremeño, Miguel Lavis and José Valencia is warmly received indicating a following for cante.
The third dance is siguiriyas with tonás and cabales.Moneta appears in a simple sleeveless red dress and turns on the fireworks again and again with her flashy moves and flamenconess.An intimate fiesta finale with the delightful dancing of Extremeño and José Valencia rounds out the show.
