Marina Heredia «Contra las cuerdas» – La Bienal

Text: Sara Arguijo
Photos: Oscar Romero / La Bienal

Guitar: Paco del Gastor, Manolo Franco, José Quevedo «El Bola», Dani de Morón, Manuel Valencia. Special collaboration: Dorantes. Percussion: Paquito González. Rhythm and chcorus: Víctor Carrasco, Anabel Rivera, Diego Montoya. Teatro Lope de Vega. October 1st, 2016

Marina Heredia, art takes center-stage

Paco del Gastor, “my idol, the guitar I listened to as a child”.  Manolo Franco, “the classic Seville style that never gets in the way of the singing”.  Dani de Morón, “nothing to do with Paco del Gastor, although he has everything to do, and that’s why he gets to me, deep down inside”.  José Quevedo Bolito, “my artistic soul-mate” and Manuel Valencia, “everyone knows what he’s been stirring up”.  Six  guitarists with concepts and leanings that are completely different, for Marina Heredia to lay out her singing in a gesture of absolute gratitude.

In “Contra las Cuerdas”, Marina Heredia wasn’t looking to shine, but rather to enjoy the people sitting in front of her, even giving them the spotlight in a gesture of generosity.  Of course, when the admiration is mutual, and the work comes from a standpoint of respect, the only star is art itself.

The Granada singer showed her strength and her savage vocal quality, with high tones that aim for the sky, and low tones that make your hair stand on end, in a very complete recital that grew bigger along the way because, if at the start she was cold and distant, by the end of the show her throat was on fire and the audience burned right along with her.

All thanks to the fact that Marina loves flamenco fans who like to listen, and need to feel what she sings feeling at ease, warming up, and for that reason, she grows even more when the verses are aimed straight at the soul.  As happened with the tientos, almost whispered, being gently rocked by Franco’s guitar, the tangos de Granada that Bolita filled with flavor, the lyrical song that Dani de Morón colored with subtlety, the siguiriyas pushed to the limits with Manuel Valencia anchored in the earth and her impressive version of “Se nos Rompió el Amor” to bulerías rhythm along with the five guitars with which she made us cry for Rocío Jurado whom we miss so much.  Without a doubt, there is no other flamenco singer today capable of outdoing Heredia in this range.

Special mention for the guitar of Paco del Gastor whose thumb delivered sounds that seemed completely new thanks to their oldness.  And also especially moviing was the tribute to Juan Peña “Lebrijano” for which Marina requested the collaboration of the former’s newphew, David Peña Dorantes, who was sitting among the audience unprepared for the surprise.  “I know he’ll forgive me” she joked, just before whispering “should we do Galeras?”  Marina’s voice was an infinite lament with which to shout out “Mi Condena”.  All heart and true emotion with which she could actually have ended the show.

 

 

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