Presentation of 'Coplas del Querer' de Miguel Poveda.

Presentation of
“Coplas del Querer”
de Miguel Poveda.
June 9th and 10th, 2009
Teatro Lope de Vega (Sevilla)

Text: Gonzalo Peña
Photos: © Maxi del Campo

Voice: Miguel Poveda; Piano: Joan Albert Amargós; Guitar: Juan Gómez Chicuelo; Violin: Olvido Lanza; Double bass: Horacio Fumero; Trumpet: Julián Sánchez; Drums: Antonio Coronel; Percussiobn: Paquito González; Palmas: Luís Cantarote and Carlos Grilo.

Singer Miguel Poveda presented his latest recording “Coplas del Querer” at Seville’s Lope de Vega Theater.  A double-CD for which he put himself in the hands of composer and arranger Joan Albert Amargos, and with which they have created a tribute to Spanish lyrical song, music that played an important part in Miguel’s childhood.

The formula is as follows: a singer with tremendous capacity, modern arrangements that move between jazz and Argentine tango, first-rate musicians and most of all, songs we all know because they are part of our culture, and if on top of everything else, Almodóvar backs you up and includes one of your songs in his new film, success is more than guaranteed.  So it’s not surprising there were no tickets for either of the two nights the record was presented in Seville.

The relationship that exists between lyrical song, or “copla”, and flamenco is undeniable, you have only to hear the amount of flamenco technique employed in copla, the way of working the melodies and way of expression that comes from mutually enriching incursions artists from both genres have made in the past.  Miguel Poveda is not the first flamenco singer, and certainly won’t be the last to revive classic coplas to add his flamenco touch.  Many greats such as Manolo Caracol, Rafael Farina, Paquera de Jerez, Gaspar de Utrera, Fernanda y Bernarda among others, also showed a weakness for these songs that bring together music and poetry, and give a perspective on nearly a century of this country’s history.

With a carefully cultivated aesthetic that is as personal as stage-wise, he divided the concert in three parts.  In the first, the singer was surrounded by piano, violin, trumpet, drums and double bass, which lent a contemporary sound to the pieces, with the singer standing in the center clutching the mike and acting out the lyrics.

Poveda has a great facility for copla, but he lacks the magic that his predecessors had and which gave overwhelming presence.  I’m thinking of interpretations such as Miguel de Molina’s “La Bien Pagá”, or the way people like Caracol and Juanita Reina had of moving around the stage, although this singer knows how to optimize his abilities and win over audiences plucking at heartstrings by talking about his mother or coming up with some anecdote or other.

 
In the second part, the group was reduced to flamenco form with guitar and palmas, cajón and Miguel seated to give a more flamenco air.  This is where Poveda is right at home, and he got the most out of tarantas, granaínas and bulerías (“Tres Puñales”) which got the audience to their feet with a thunderous ovation.

In the third part the other instruments returned to finish off the night which looks like it’s going to be a huge success, with the audience constantly shouting out “ole!”, and other typical cheers.

There is no doubt Miguel Poveda is one of the most popular artists in current flamenco.  His productions are classy, and he knows how to surround himself with the best.  A true professional of cante, and he’s also lucky enough to have connected with an audience that doesn’t usually follow this sort of music.  My question is, will he manage to get his followers hooked on his flamenco, or is this just a flash in the pan?