Text: Curro Velázquez-Gaztelú
Photos: Marta Vila Aguilà
Having passed the half-way point of the second edition of the Festival “Flamenco on Fire”, let's take stock of everything we've seen during the week, from the beginning on August 22nd, through today.
From that unforgettable tribute at the Teatro Gayarre for the maestro of the six strings, Pepe Habichuela, to the first afterhours performance of the present edition. The patriarch of the Carmonas received a well-deserved tribute to his art, life and work, and his contribution to flamenco. Surrounded by his people, once again the prestigious festival “Flamenco on Fire” got underway, feeling as if it's been around for years, becoming consolidated as we speak, not to mention the response from the general public as well as the media. The director, Miguel Morán, has the experience and good sense to make a project like this work, since he knows how to harmonize the business concerns with strategic, artistic and human elements. And if we consider the unifying line is Agustín Castellón Campos “Sabicas”, and his place of birth and upbringing, the formula is more than attractive enough to guarantee success. It's no secret that Pamplona-Iruña, and the northern peninsula in general, appreciates and respects flamenco in a special way. The behaviour of northern audiences gives an idea of their high level, and of how the following is becoming stronger all the time.
The Flamenco Mass, under the direction of Paco Suárez, the presentation titled ¡Ay, Undevel!, Sunday at 12 noon, was a complete success, with the encounter between symphony, flamenco and religious formats at the Gothic cathedral of the Navarra capital. From this point on, the actual program began in its original format, at the Baluarte, which has actually been the main venue since the beginning of this project. The space where most of the festival's program takes place. There is the medium-large format, and another for small to medium size; depending on the show and its technical requirements, one space or the other is used. The Baluarte is a modern structure, well-situated and very near the historic center where an important program is carried out including a wide variety of disciplines throughout the year. Many people chalk it off as elitist due to the high price of tickets, which caused many people to stay away from “Flamenco on Fire”, as they are pre-disposed to expect high prices, although this was not the case. For this reason, it's important, as happened as well at the Teatro Gayarre this year, to open new performance venues throughout the city in order to be more accessible to the man in the street.
Remedios Amaya opened the Baluarte on Sunday the 23rd at 9:00pm with her show “Del corazón al aire”. The guitar of Juan Requena was outstanding, as well as the singing of Pepe de Pura and the dancing of “El Choro”. The Triana singer offered the repertoire we're accustomed to hearing from her: tangos canasteros, tangos extremeños, bulerías, rumbas-tangos… She had just arrived from the recording studio where she is preparing her latest work, but was unable to offer any preview of that much-awaited record. Had it been up to her, she would have stayed for the entire duration of the festival thanks to the unexpectedly enthusiastic audience reception that surprised everyone. But it was not meant to be, the following day she had to return to the studio.
On Monday the 24th we were able to enjoy the show “Cu4tro”, in which Carmen Linares surrounded herself with the always surprising musicians, Jorge Pardo, Carles Benavent and Tino Di Geraldo, what a line-up. The great Eva Hache gave a fine presentation with flamenco-tinged humor that maintained good taste throughout. With class, and always knowing the limits, to make contact with the audience. We were able to enjoy fandangos de Huelva, the Milonga del Forastero (with lyrics by Jorge Luis Borges) and an instrumental number of soleá por bulería in the purest flamenco-jazz style. At this point, the dancing of Pepe Torres from Morón, was the icing on the cake. The clean guitar-playing of Salvador Gutiérrez was added to the group to accompany taranta and cartagenera. Tangos and granaínas were dedicated to Morente with lyrics from “Poeta en Nueva York”. Siguiriyas and tonás to end with various varieties of tango. The fiesta finale por bulerías rounded out the nearly two-hour show.
After the shows, people gathered in the Hotel Los Tres Reyes, where the nights of afterhours shows attracted a certain type of audience.
The following day, Tuesday the 25th, the series of Flamenco Documentaries began at the Palacio del Condestable in the city's historic center. For one euro, you could enjoy each day's program, and this marked the beginning of the parallel activities organized by the festival. The first day the documentary of Chus Gutiérrez made in Granada's Sacromonte was projected, and the second, Furu's “El flamenco es cosa de niños”. We'll inform of each film as it is projected.
One of the most anticipated evenings so far was “Reencuentro” with Manuela Carrasco and Antonio Canales who effortlessly got the audience eating out of their hands from the first moment. At this point their names are all that's needed. With maximum volume, the cajón was unbearable, as well as the guitars, considering who they were accompanying. “El Galli” from Morón, was one of the few elements we could hear properly. Eternal introductions, overuse of the soleá which was danced, in various formats, at least three or four times. Tangos, cartageneras, and little more. No story line or apparent communication between these two pillars of dance. Not at all like times past.
The following day, Wednesday the 26th, we were offered a harmonious, sensitive and well-worked show: David Peña “Dorantes” and Marina Heredia. “Las Esencias”. In a medium-small format, we were treated to two hours of the best music now coming from the south. The man from Lebrija, precise and forward-looking…the Granada lady, with a presence that took over the entire stage, were spot on at every moment, without losing a whit of flamenco flavor or stage savvy. The singer opened with nanas, moving on to alegrías de Cádiz, siguiriyas and soleá por bulerías. Javi Ruibal's percussion was sublime, never overdoing or showing off. The way percussion was meant to be, no fireworks or upstaging, accompanying perfectly at every moment…here's to Javier Ruibal junior. Dorantes was in the same line, in his most minimalist vein, with controlled touch, turning the strings of his piano into an improvised guitar, between jazz, flamenco and contemporary music. Slow tangos, granaínas, Cuban rhythms, Orobroy to fandangos, bulerías dedicated to Manuel Molina with verses from the late poet, from Bambino, Luis de la Pica, Fernanda and Bernarda. Standing ovation. Stratospheric sensitivity. The bulerías bis on David's piano could not be surpassed.
Immediately following this, we went to Los Tres Reyes for the first afterhours show: Dos Juanes. Juan Ramírez and Farruquito…enough said!
Juan Verdú gave a talk on his experiences with Sabicas. We enjoyed his way of telling anecdotes and memories alongside the most important flamenco artists.
And the beat goes on at Flamenco on Fire……
