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Zatania
| Daily coverage BIENAL DE FLAMENCO sponsored by: |
1st part: Cante: Antonio Reyes. Guitar: Antonio Higuero. Percusión:
Diego Montoya. Palmas. Tate, Pedro de la Chana.
2nd part: Cante: La Susi. Guitar: Diego del Morao. Palmas: Bobote,
Torombo.
The thirteenth Bienal de Flamenco de Sevilla is winding
down and the night of Frirday, October 8th saw the last recital
programmed at the Teatro Central, a venue until now reserved for
the avant-garde but which on this occasion was the stage for traditional
cante and guitar. The rains which began at midday, and Esperanza
Fernández’ simultaneous concert at the Maestranza kept
the audience considerably small, no more than two hundred people,
but there were keen flamenco fans and the “ole’s”
came at the right moments.
Although he’s not yet recorded, young Antonio Reyes from
Chiclana is one of the most promising voices of traditional cante.
Having won the “Antonio Mairena” prize for seguiriyas
and tonás, and the “Manolo Caracol” prize for
soleares and bulerías at Córdoba in 2001 at the age
of 21, it’s safe to say we’re talking about a bonafide
flamenco singer with admirable knowledge of the basic cantes.
Antonio’s voice combines a velvet sound, slightly hoarse
and reminiscent of Caracol, with a modern delivery that is very
flamenco, a tasty recipe for the traditional plate this young man
with the sweet smile and shiny black hair has to offer. He began
with soleá with a classic repertoire of styles from Alcalá,
Serneta, Jerez and Cádiz, in no hurry and putting it together
just right – since we saw this singer two years ago at the
Grenoble festival, he’s acquired the confidence that was lacking
back then. With alegrías he got the aroma of Cádiz,
for tientos tangos he kept to old styles, something you don’t
commonly hear nowadays when this form dreams of becoming the kid
brother of bulerías in as much as its capacity to absorb
popular music, and even a fandango he squeezed into tango was digestible.
Siguiriyas was dedicated to Quique Paredes, and bulerías
was based on ‘cuplé’ with occasional flashes
of Paquera, Caracol and of course Camarón. Fandangos let
all the beauty of his voice shine through, and a Caracol zambra
was only diminished by the barefoot dance of his wife Patricia,
a sight which was reminiscent of the Lola Flores-Caracol duo. Extra
special mention for guitarist Antonio Higuero whose expert accompaniment
showed knowledge, clean technique and above all, originality counselled
by intelligent taste.
More mature, but as flamenca and saucy
as ever
Since Susana Amador Santiago “La Susi” is from Alicante,
one wonders what the reference to ‘Triana’ in the title
of this shared recital refers to. Thirty years ago the dancer who
also sang was discovered by Paco de Lucía who made it possible
for her to make a first recording which led to a long decade of
intense professional activity in festivals, theaters and tablaos.
Then Susi fell into a period of relative inactivity, but in 2001
she resurfaced, more mature, but as flamenca and saucy as ever,
with her recording “Agua de mayo”.
Dressed in white with a white jacket she bravely began with tonás,
in her own way it must be understood, with the flattened notes so
typical of the seventies, but more than acceptable for the many
diehard fans present this night. Her voice is warm, sensual and
very flamenca, on the verge of breaking at any moment, not from
being forced but because it’s so delicate. With milonga and
vidalita she makes optimum use of her intimist style, but it’s
a bit too long. A malagueña of Chacón finished off
with rhythmic abandolao cante is not especially noteworthy, but
finally Susi enters into her regular territory with mineras, a cante
that has always been important in her repertoire. Diego del Morao
on the guitar doesn’t seem quite comfortable and plays cautiously,
but then he suddenly comes to life when the singer goes into soleá
with a soleá por bulería feeling. Susi surprises one
and all with the intensity that comes out of nowhere and her ability
to work the silences. As was inevitable, she ended por bulerías
including “Al alba” the Pepe de Lucía song she
popularized.
|
Cultura jonda. 15 años de flamenco |
|
|
|
Zatania
| Daily coverage BIENAL DE FLAMENCO sponsored by: |
1st part: Cante: Antonio Reyes. Guitar: Antonio Higuero. Percusión:
Diego Montoya. Palmas. Tate, Pedro de la Chana.
2nd part: Cante: La Susi. Guitar: Diego del Morao. Palmas: Bobote,
Torombo.
The thirteenth Bienal de Flamenco de Sevilla is winding
down and the night of Frirday, October 8th saw the last recital
programmed at the Teatro Central, a venue until now reserved for
the avant-garde but which on this occasion was the stage for traditional
cante and guitar. The rains which began at midday, and Esperanza
Fernández’ simultaneous concert at the Maestranza kept
the audience considerably small, no more than two hundred people,
but there were keen flamenco fans and the “ole’s”
came at the right moments.
Although he’s not yet recorded, young Antonio Reyes from
Chiclana is one of the most promising voices of traditional cante.
Having won the “Antonio Mairena” prize for seguiriyas
and tonás, and the “Manolo Caracol” prize for
soleares and bulerías at Córdoba in 2001 at the age
of 21, it’s safe to say we’re talking about a bonafide
flamenco singer with admirable knowledge of the basic cantes.
Antonio’s voice combines a velvet sound, slightly hoarse
and reminiscent of Caracol, with a modern delivery that is very
flamenco, a tasty recipe for the traditional plate this young man
with the sweet smile and shiny black hair has to offer. He began
with soleá with a classic repertoire of styles from Alcalá,
Serneta, Jerez and Cádiz, in no hurry and putting it together
just right – since we saw this singer two years ago at the
Grenoble festival, he’s acquired the confidence that was lacking
back then. With alegrías he got the aroma of Cádiz,
for tientos tangos he kept to old styles, something you don’t
commonly hear nowadays when this form dreams of becoming the kid
brother of bulerías in as much as its capacity to absorb
popular music, and even a fandango he squeezed into tango was digestible.
Siguiriyas was dedicated to Quique Paredes, and bulerías
was based on ‘cuplé’ with occasional flashes
of Paquera, Caracol and of course Camarón. Fandangos let
all the beauty of his voice shine through, and a Caracol zambra
was only diminished by the barefoot dance of his wife Patricia,
a sight which was reminiscent of the Lola Flores-Caracol duo. Extra
special mention for guitarist Antonio Higuero whose expert accompaniment
showed knowledge, clean technique and above all, originality counselled
by intelligent taste.
More mature, but as flamenca and saucy
as ever
Since Susana Amador Santiago “La Susi” is from Alicante,
one wonders what the reference to ‘Triana’ in the title
of this shared recital refers to. Thirty years ago the dancer who
also sang was discovered by Paco de Lucía who made it possible
for her to make a first recording which led to a long decade of
intense professional activity in festivals, theaters and tablaos.
Then Susi fell into a period of relative inactivity, but in 2001
she resurfaced, more mature, but as flamenca and saucy as ever,
with her recording “Agua de mayo”.
Dressed in white with a white jacket she bravely began with tonás,
in her own way it must be understood, with the flattened notes so
typical of the seventies, but more than acceptable for the many
diehard fans present this night. Her voice is warm, sensual and
very flamenca, on the verge of breaking at any moment, not from
being forced but because it’s so delicate. With milonga and
vidalita she makes optimum use of her intimist style, but it’s
a bit too long. A malagueña of Chacón finished off
with rhythmic abandolao cante is not especially noteworthy, but
finally Susi enters into her regular territory with mineras, a cante
that has always been important in her repertoire. Diego del Morao
on the guitar doesn’t seem quite comfortable and plays cautiously,
but then he suddenly comes to life when the singer goes into soleá
with a soleá por bulería feeling. Susi surprises one
and all with the intensity that comes out of nowhere and her ability
to work the silences. As was inevitable, she ended por bulerías
including “Al alba” the Pepe de Lucía song she
popularized.
|
Cultura jonda. 15 años de flamenco |
|
|
