| FOURTH FESTIVAL DE OTOÑO DE GRANADA MIGUEL POVEDA Sunday, December 7th, |
Miguel Poveda, one of the most representative members of
the Catalonian flamenco elite, came to sing in Granada. If the so-called
triangle of cante located in western Andalusia hasn’t quite
accepted the concept of non-Andalusian singers, Granada assimilated
the “novelty” quite some time ago. In fact, only José
Mercé and Poveda were trusted with the responsibility of
carrying off solo recitals in this fourth Festival de Otoño.
The young veteran whose spectacular career made a quantum leap
after his triumph at the La Unión contest is capable of managing
any style of cante, from the Jerez bulerías sound, to Manolo
Caracol’s zambras or the sweetness of cante from the Málaga-Granada-Levante
area. At thirty he continues to learn and mature artistically and
his delivery is more shaded and sensitive than ever, a style of
singing highly appropriate for Granada taste buds.
Accompanied by his regular guitarist Chicuelo, also Catalonian,
and palmas from Jerez by Londro and Macano, he began with alegrías
and cantiñas doing a fine job of capturing that Cádiz
sensibility that reminds us so much of Manolo Vargas and others
from that admirable era. The lovely malagueña de Peñaranda
with rhythmic abandolao ending was delicately coddled by his sweet
voice and exquisite melisma.
A delivery that is more shaded and sensitive
than ever, a style of singing highly appropriate
for Granada taste buds.
A sweet stylized taranto suffered the occasional onslaught of Chicuelo’s
aggressive guitar, but the two artists have a perfect rapport and
it only hurts momentarily.
Tonás with an original ending links up with siguiriya that
ends with a cabal style. A granaína that tickles the audience
pink morphs seamlessly into the milonga “La rosa cautiva”
dedicated to Juan Valderrama.
Free-style fandangos include a verse dedicated to “an artist
I admire very much, Enrique Morente”. Tientos tangos with
some Extremaduran styles as well as de la Repompa. The audience
requests soleá, but Miguel gives them bulerías ending
with the popular song, slightly and geographically altered, “Era
catalana y se llamaba Carmen”. For the obligatory reprise,
more bulerías with his version of the song “La bien
pagá” brightening up what might otherwise have become
an overdose of saccharine-sweet cante, and demonstrating Miguel
Poveda’s extraordinary versatility.
Text & Photos: Estela
Zatania
|
|
| FOURTH FESTIVAL DE OTOÑO DE GRANADA MIGUEL POVEDA Sunday, December 7th, |
Miguel Poveda, one of the most representative members of
the Catalonian flamenco elite, came to sing in Granada. If the so-called
triangle of cante located in western Andalusia hasn’t quite
accepted the concept of non-Andalusian singers, Granada assimilated
the “novelty” quite some time ago. In fact, only José
Mercé and Poveda were trusted with the responsibility of
carrying off solo recitals in this fourth Festival de Otoño.
The young veteran whose spectacular career made a quantum leap
after his triumph at the La Unión contest is capable of managing
any style of cante, from the Jerez bulerías sound, to Manolo
Caracol’s zambras or the sweetness of cante from the Málaga-Granada-Levante
area. At thirty he continues to learn and mature artistically and
his delivery is more shaded and sensitive than ever, a style of
singing highly appropriate for Granada taste buds.
Accompanied by his regular guitarist Chicuelo, also Catalonian,
and palmas from Jerez by Londro and Macano, he began with alegrías
and cantiñas doing a fine job of capturing that Cádiz
sensibility that reminds us so much of Manolo Vargas and others
from that admirable era. The lovely malagueña de Peñaranda
with rhythmic abandolao ending was delicately coddled by his sweet
voice and exquisite melisma.
A delivery that is more shaded and sensitive
than ever, a style of singing highly appropriate
for Granada taste buds.
A sweet stylized taranto suffered the occasional onslaught of Chicuelo’s
aggressive guitar, but the two artists have a perfect rapport and
it only hurts momentarily.
Tonás with an original ending links up with siguiriya that
ends with a cabal style. A granaína that tickles the audience
pink morphs seamlessly into the milonga “La rosa cautiva”
dedicated to Juan Valderrama.
Free-style fandangos include a verse dedicated to “an artist
I admire very much, Enrique Morente”. Tientos tangos with
some Extremaduran styles as well as de la Repompa. The audience
requests soleá, but Miguel gives them bulerías ending
with the popular song, slightly and geographically altered, “Era
catalana y se llamaba Carmen”. For the obligatory reprise,
more bulerías with his version of the song “La bien
pagá” brightening up what might otherwise have become
an overdose of saccharine-sweet cante, and demonstrating Miguel
Poveda’s extraordinary versatility.
Text & Photos: Estela
Zatania
|
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