Twelfth FESTIVAL FLAMENCO 'CAJA MADRID' 2004

Falcon: Searching the past to
find the future

The
stage is bathed in tones of blue to receive Segundo Falcón
and his group. Falcón’s shows seem to have a
certain innovative anthropological sense, as if searching
the past to find the future, something typical of Morente,
but in his own way. Cantiñas with a pleasant cajón
that sought out the deep tones with a closed fist, a technique
used by Antonio Coronel. Paco Jarana’s quality guitar
combined with with Segundo’s professionalism resulted
in an enjoyable product. The lights faded to yellow for granaína,
and the fandango of Frasquita Yerbabuena ending with rondeña.
A well-executed caña was followed by a intense siguiriya
where the second guitarist (unnamed on the program) stood
out. A closing of fandangos and perhaps fewer ‘oles’
than deserved.

Macanita: A certain sound reminiscent
of Fernanda

Tomasa
la Macanita comes on stage, without her ‘moon’
but with a colorful dress and red shawl that matches her all-out
style. She starts with tientos that turns into tangos as the
pace quickens. Macanita tends to begin her recitals in this
way. A very internalized soleá during which, between
cantes, a member of the audience shouted out “that feeling!”,
and it was true since the singer has a certain sound reminiscent
of Fernanda. Next was a siguiriyas in the same line. What
the audience was really awaiting was bulerías where
Tomasa is at her best. Flourishes ‘a la Paquera’,
Jerez-style dancing, lots of compás and a rogue wind
that sent her peineta flying across the stage as had happened
the night before. Macanita is quite a spectacle to behold.

Pele: Less spectacular but more
warmth

After
the intermission, El Pele and Manuel Silveria. Manuel Moreno
Maya started off with apologies for the cold he was suffering:
“if I can’t make with this [pointing to his throat],
I’ll do it with this” he said, pointing to his
heart. The statement brought every imaginable shouted reaction
from the audience (strangely enough, this was the night that
attracted the most representatives the jet set), divided between
those who wanted to send him home packing, to those who applauded
his bravery in performing while ill. He began with soleá
and followed with siguiriya. A well-received malagueña,
and alegrías that was more spoken than sung (a rather
successful experiment), to finally end, officially with bulerías,
but actually with tonás, away from the microphone at
the edge of the stage. This was the best I’d ever heard
El Pele sing, perhaps because he was unable to reach his customary
high tones and chose instead to sing in a low voice. In doing
so, his voice acquired form and subtlety, less spectacular
but more warmth. At the final curtain the applause was considerable,
so we can deduce that the singer’s vocal problems had
not been an obstacle after all.