More “Flamenco pa' tos” ['flamenco for everyone']
this second day of the festival, which was undoubtedly an evening
for all tastes, guitar, singing, dance, and three different artists'
personal interpretations of each.
A guitar which evolves
freely and subtlety,
never sacrificing one bit of its flamenconess .
Niño
Josele was in charge of opening the recital. With several pieces from
his new record, the young man from Almería transmitted to the audience
his personal concept of guitar. Flamenco essence is the unmovable
basis for his playing, and from that starting point Niño Josele creates
and explores with his strings, with delicacy or strength, as the case
may be. He played two solo pieces: a soleá and a minera, with great
depth and the freshness which is detectable in everything he plays.
He then accompanied the virtuoso bass of Alain Pérez, and Piraña's
percussion, where percussionist and guitarist let it all rip in the
bulerías. The fandangos and slow bulerías are fine examples of the
lovely melodies that make up his latest work, played with the sensitivity
that so characterizes him. There was a huge ovation for the guitarist
who is managing to maintain an exemplary career with a playing style
that evolves freely and subtlety, never sacrificing one bit of its
flamenconess.
José Menese's command
of all the styles is always remarkable
José Menese has a solid following
that is always prepared to receive the depth of his singing: “everything
for the cause” began the singer, “but guitarists' names belong on
the posters too” he added, a reference to his regular accompanist
José Antonio Carrión who received applause again and again during
the course of the performance for his ability to transmit via perfect
cante accompaniment, sharing a profound flamenco feeling with his
artistic partner. José Menese's command of all the styles is always
remarkable: taranto and petenera where there were moments of great
depth and feeling, soleá and seguiriya smoothly linking the cantes
and demonstrating with farruca that he dares to take on the most
difficult forms as well as those which are nearly forgotten. If
the cheers from some of his followers were enthusiastic during the
performance, the final ovation was no less so.
José Menese with Antonio Carrión
With Eva Yerbabuena,
satisfaction is guaranteed.
After intermission it was time for
dance, that of Eva Yerbabuena, satisfaction guaranteed, and even
more so if it's her soleá where she throws herself into her considerable
art. “Eva, you've got it all!” is heard from the balcony, and so
it is, the woman from Granada has everything, she moves her arms
and hands with great beauty, works her hips perfectly, she is measured
and powerful in her footwork, her varied resources surface constantly
reaching moments of great intensity, and she is as flamenco as they
come, with those movements that make time stand still, giving every
ounce of artistry. She finished with bulerías, and then more bulerías
for her curtain call, this time without guitar, accompanied by the
voices of her singers Enrique Sordera and Segundo Falcón, to receive
the third standing ovation of the night at the Colegio de Médicos.
