The unusual cold last Tuesday, January 20th must
have been too much for the people who didn’t show up
at Seville’s Teatro Central. Nothing else could explain
the half-empty theater, because it was featuring one of the
biggest stars of flamenco guitar, if not the biggest: Gerardo
Núñez.
The guitarist was accompanied by star pupils, excellent musicians
who we can expect to see more frequently at important venues.
José Manuel León, Juan Antonio Suárez
“Canito” and Jesús de Rosario. We were
also able to enjoy Manolo de la Luz’ who played with
the group for the fifteen minute-plus bulería that
closed the show which was carried out in cooperation with
the ‘Taller de Guitarra’ seen on previous days
in this same theater.
“Bajadilla”
(soleá) and “Kabul” (tanguillos) were the
pieces José Manuel León used to break the ice.
‘Canito’ was up next with “Luna” (seguirilla),
“Alboreá a mi hermano” and “Rumba
do Nilo”. Jesús de Rosario’s contribution
was rondeña “Blanca”, and bulerías
“Rajira. Three young guitarists whose abilities are
more than worthy of the audience’s attention and to
stand in the shadow of Gerardo’s. Certainly the clean
technique and strength in the straightforward playing of Jesus
del Rosario deserves this praise although his colleagues were
no slackers themselves.
And Gerardo appears. His guitar is imposing, superb, profoundly
flamenco. Too few adjectives are available to distribute among
such wonderful guitarists without repeating oneself, but beyond
any doubt he is indescribable, one of the chosen elite who
steal your soul away.
He is master of the strings, ‘prima y bordón’:
they are his playthings to do with as he pleases, and his
virtuosity reaches amazing heights. A thumb that spares no
‘arzapúas’, lightning ‘picado’
and astonishing speed which at times actually seemed to be
millimetrically controlled, yet without falling into the trap
of cold, scrupulously rehearsed pieces, even though they are,
and the audience soaked it all up.
“Yerma”, “Trafalgar”, soleá
and bulerías and “Sevilla”, are pieces
that have seen many stages, and they each have their own character.
Gerardo Núñez doesn’t abuse these compositions
but rather reinvents them each time he interprets them and
offers us the possibility of enjoying them live, with the
shading he applies.
Ángel Sánchez “Cepillo” and Pablo
Martín made two hours feel like less. The former on
the cajón, and the latter on double bass. Coming from
Gerardo, their musical aptitude shows. In no way were expectations
left unfulfilled. The same can be said of Manolo de la Luz,
one of the participants of the ‘Taller de Guitarra’,
well-known for his performances accompanying at Seville’s
tablaos.
Gerardo Núñez
Five guitars, a bass and a cajón wrapped up the evening
with bulerías to a great audience ovation.
The unusual cold last Tuesday, January 20th must
have been too much for the people who didn’t show up
at Seville’s Teatro Central. Nothing else could explain
the half-empty theater, because it was featuring one of the
biggest stars of flamenco guitar, if not the biggest: Gerardo
Núñez.
The guitarist was accompanied by star pupils, excellent musicians
who we can expect to see more frequently at important venues.
José Manuel León, Juan Antonio Suárez
“Canito” and Jesús de Rosario. We were
also able to enjoy Manolo de la Luz’ who played with
the group for the fifteen minute-plus bulería that
closed the show which was carried out in cooperation with
the ‘Taller de Guitarra’ seen on previous days
in this same theater.
“Bajadilla”
(soleá) and “Kabul” (tanguillos) were the
pieces José Manuel León used to break the ice.
‘Canito’ was up next with “Luna” (seguirilla),
“Alboreá a mi hermano” and “Rumba
do Nilo”. Jesús de Rosario’s contribution
was rondeña “Blanca”, and bulerías
“Rajira. Three young guitarists whose abilities are
more than worthy of the audience’s attention and to
stand in the shadow of Gerardo’s. Certainly the clean
technique and strength in the straightforward playing of Jesus
del Rosario deserves this praise although his colleagues were
no slackers themselves.
And Gerardo appears. His guitar is imposing, superb, profoundly
flamenco. Too few adjectives are available to distribute among
such wonderful guitarists without repeating oneself, but beyond
any doubt he is indescribable, one of the chosen elite who
steal your soul away.
He is master of the strings, ‘prima y bordón’:
they are his playthings to do with as he pleases, and his
virtuosity reaches amazing heights. A thumb that spares no
‘arzapúas’, lightning ‘picado’
and astonishing speed which at times actually seemed to be
millimetrically controlled, yet without falling into the trap
of cold, scrupulously rehearsed pieces, even though they are,
and the audience soaked it all up.
“Yerma”, “Trafalgar”, soleá
and bulerías and “Sevilla”, are pieces
that have seen many stages, and they each have their own character.
Gerardo Núñez doesn’t abuse these compositions
but rather reinvents them each time he interprets them and
offers us the possibility of enjoying them live, with the
shading he applies.
Ángel Sánchez “Cepillo” and Pablo
Martín made two hours feel like less. The former on
the cajón, and the latter on double bass. Coming from
Gerardo, their musical aptitude shows. In no way were expectations
left unfulfilled. The same can be said of Manolo de la Luz,
one of the participants of the ‘Taller de Guitarra’,
well-known for his performances accompanying at Seville’s
tablaos.
Gerardo Núñez
Five guitars, a bass and a cajón wrapped up the evening
with bulerías to a great audience ovation.
Utilizamos cookies para asegurar que damos la mejor experiencia al usuario y obtener estadísticas en nuestro sitio web. Si continúa utilizando este sitio asumiremos que está de acuerdo. Más info:
“Bajadilla”
