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FOURTH FESTIVAL DE OTOÑO DE GRANADA LOS FARAONES Friday, December 5th, |
Singers: Jaime Heredia “El Parron”, Antonio Campos,
Juan Tirado, Victor Quero “El Charico”, Antonio “El
Manzana”
Guitarists: Emilio Maya, Rafael Santiago “Habichuela”
A concept that is as novel as it is ancient. Five flamenco singers
and two guitarists entertaining one another remembering verses of
cante, some sung without music, others in group. Seven men from
Granada, professionals without being superstars, because with very
few exceptions, and for reasons we are unaware of, this area is
not inclined to yield flamenco superstars, honorably and intelligently
doing what they do best: singing and playing flamenco.
The
reaction is immediate…flamenco
is bigger than any superstar.
Instead of the usual circle, they are sitting in a semicircle open
to the audience at the Isabel la Catolica Theater to involve us
in their intimate gathering. One feels privileged, because this
isn’t your typical recital, nor is it a festive finale with
would-be child prodigies getting in stage time, nor is it all limited
to festive cante.
A guitar solo of granainas to open is the only structural concession,
and five singers appear for quite a respectable round of ‘tonas’
with dramatic finale of superimposed voices. The reaction is immediate…flamenco
is bigger than any superstar.
Jaime Heredia 'El Parrón'
They next take turns with cantes from the mining area of Levante
and little by little the guitars get rolling into a threes rhythm
to back up some choice inland cantes that taste of rosemary and
thyme, each singer with his particular verse. Especially beautiful
are the jaberas of Jaime Heredia “El Parron”, father
of singer Marina Heredia.
Alegrias with group chorus is the perfect vehicle for an assortment
of cantiñas that includes romeras, mirabra and alegrias de
Cordoba, and you begin to notice the excellent rapport between these
men who, to judge from the looks on their faces, are having a grand
time.
A
show that is both fresh and traditional and which can disappoint
no fans of flamenco cante
Tientos with tangos are reminiscent of the Montoya family’s
group tangos and bulerias from the nineteen-seventies.
Solea sung a cappella reinforces the feeling of being privy to
an authentic gathering of knowledgeable singers. Siguiriyas and
cabales, still adhering to the format of singing verses by turns,
with admiring glances and words of encouragement being exchanged
between the seven men all the while.
Emilio Maya
Fandangos ‘naturales’ are finished off with the rhythmic
Huelva variety and a choral ending with the five voices that is
both beautiful and original. Antonio Campos speaks briefly of the
importance of local support, and the half-empty theater is mute
testimony of the cause for his concern. If Granada flamenco fans
don’t turn up for their own with a show of this quality, something’s
not right.
The
ending is bulerias with a strong Jerez flavor, each singer expressing
his individual personality, all equally proficient, without resorting
to the easy applause brought by suddenly improvised dance steps.
Hats off to the organizers for having taken a chance with this
group that debuted just last October at the Feria del Flamenco in
Sevilla, and to the artists themselves for having had the good taste
to put together a show that is both fresh and traditional and which
can disappoint no fans of flamenco cante.
Antonio Campos
Text & Photos: Estela
Zatania
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FOURTH FESTIVAL DE OTOÑO DE GRANADA LOS FARAONES Friday, December 5th, |
Singers: Jaime Heredia “El Parron”, Antonio Campos,
Juan Tirado, Victor Quero “El Charico”, Antonio “El
Manzana”
Guitarists: Emilio Maya, Rafael Santiago “Habichuela”
A concept that is as novel as it is ancient. Five flamenco singers
and two guitarists entertaining one another remembering verses of
cante, some sung without music, others in group. Seven men from
Granada, professionals without being superstars, because with very
few exceptions, and for reasons we are unaware of, this area is
not inclined to yield flamenco superstars, honorably and intelligently
doing what they do best: singing and playing flamenco.
The
reaction is immediate…flamenco
is bigger than any superstar.
Instead of the usual circle, they are sitting in a semicircle open
to the audience at the Isabel la Catolica Theater to involve us
in their intimate gathering. One feels privileged, because this
isn’t your typical recital, nor is it a festive finale with
would-be child prodigies getting in stage time, nor is it all limited
to festive cante.
A guitar solo of granainas to open is the only structural concession,
and five singers appear for quite a respectable round of ‘tonas’
with dramatic finale of superimposed voices. The reaction is immediate…flamenco
is bigger than any superstar.
Jaime Heredia 'El Parrón'
They next take turns with cantes from the mining area of Levante
and little by little the guitars get rolling into a threes rhythm
to back up some choice inland cantes that taste of rosemary and
thyme, each singer with his particular verse. Especially beautiful
are the jaberas of Jaime Heredia “El Parron”, father
of singer Marina Heredia.
Alegrias with group chorus is the perfect vehicle for an assortment
of cantiñas that includes romeras, mirabra and alegrias de
Cordoba, and you begin to notice the excellent rapport between these
men who, to judge from the looks on their faces, are having a grand
time.
A
show that is both fresh and traditional and which can disappoint
no fans of flamenco cante
Tientos with tangos are reminiscent of the Montoya family’s
group tangos and bulerias from the nineteen-seventies.
Solea sung a cappella reinforces the feeling of being privy to
an authentic gathering of knowledgeable singers. Siguiriyas and
cabales, still adhering to the format of singing verses by turns,
with admiring glances and words of encouragement being exchanged
between the seven men all the while.
Emilio Maya
Fandangos ‘naturales’ are finished off with the rhythmic
Huelva variety and a choral ending with the five voices that is
both beautiful and original. Antonio Campos speaks briefly of the
importance of local support, and the half-empty theater is mute
testimony of the cause for his concern. If Granada flamenco fans
don’t turn up for their own with a show of this quality, something’s
not right.
The
ending is bulerias with a strong Jerez flavor, each singer expressing
his individual personality, all equally proficient, without resorting
to the easy applause brought by suddenly improvised dance steps.
Hats off to the organizers for having taken a chance with this
group that debuted just last October at the Feria del Flamenco in
Sevilla, and to the artists themselves for having had the good taste
to put together a show that is both fresh and traditional and which
can disappoint no fans of flamenco cante.
Antonio Campos
Text & Photos: Estela
Zatania
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