XIII Bienal de Flamenco . Seville. 2nd september

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The Bienal gets under way

Seville has two springtimes this year even as Indian summer
is seducing the populace. It’s the 25th anniversary of the
Bienal de Arte Flamenco which was commemorated several months ago
by José Luis Ortiz Nuevo with his keynote speech at the Reales
Atarazanas amidst the aroma of rosemary and thyme. Then came the
two series, “Más Flamenco, Más Músicas”
and “Más Jóvenes, Más Flamenco”
marvelously decorating the Parque de María Luisa night after
night with new talents of this art we all love. And in the Plaza
de las Lanzas the first “ayyy” sounded last night, the
power of the guitar, the opening flourish of this much-awaited Bienal,
controversial in some ways but brimming with quality artists for
the most part, despite the panoply of criticism and that which is
to come.

The Bienal has officially gotten under way! And not even Seville’s
legendary Carmen, nor my next-door neighbor Carmen, the one I used
to dream would one day hear the fandango verse I wrote for her but
which I never dared to sing because my knees got shaky each time
I tried, not even they could stop the momentum. Once again the capital
resonates with the cold steel, the gaiety, the warmth, the pain,
the whole flamenco package. Twenty-five years old, and it seems
like just yesterday…

Raúl Montesinos

After a long heavy-going presentation by Alfonso de Miguel (as
long as some of the artists’ performances), Raúl Montesinos
opened with granaínas. His singing was competent but little
more. Somewhat more interesting in mineras, ending with siguiriyas
though not quite on top of things, and not quite pulling off the
cabales ending. Young guitarist Manolo Herrera however was at ease
and highly professional with clean technique, always accompanying
the cante without upstaging but always knowing when to momentarily
step forward when called for. At moments like this the guitarist’s
role is crucial and the singer was not up to par.

The next pair of singer and guitarist was Jesús Heredia
and Manolo Herrera, the former, very well-received by the audience.
The unusual repertoire offered was mariana, liviana and tonás.
Jesús communicated well with the spectators who seemed to
hang on each turn of the mariana and remained attentive for the
traditional farm-laborer’s songs known as ‘trillas’.
Martinete and toná grande left us with the pleasant taste
of a flamenco-sounding voice counseled by first-hand life experiences.

Melchora Ortega

Melchora Ortega from Jerez warmed up with a well-paced tientos,
followed by siguiriya where she poured her soul into each line.
Barefoot for bulerías and then the hackneyed trick of singing
away from the mike. After intermission, Juana la del Revuelo opened
with tangos. She was accompanied on the guitar by her son Martín
Chico and the palmas of her husband Martín Revuelo. She forced
her voice through some a capella fandangos, following with highly
theatrical bulerías where “rocking the baby”
in her apron is as much a constant with this woman as the enthusiastic
audience response.

The stage darkens. Rancapino warms up with malagueña taking
things easy, and finally gets going with soleá. Styles from
Alcalá of Joaquín el de la Paula, Juan Talega’s
repertoire, then Utrera to finish off. With astonishing integrity
and an authentic delivery he had us in his thrall. Alegrías
to finish off.

Remedios Amaya

Introduced by Alfonso de Miguel as “a practicing gypsy who
is very gypsy”, an odd expression if ever there was one, Remedios
Amaya rounded out the night keeping to rumbas, tangos and bulerías
accompanied by a chorus and typical ‘jaleos’ for flamenco
songs in the most commercial vein, ending with the obligatory bulerías
finale.

It was a long night despite the good organization – long
because of the number of performers more than anything else…and
that’s how it was the opening night of the Bienal in Seville.

Text: Kiko Valle.

Photos: Estela Zatania (1-2) & Rafa Manjavacas
(3)