|Daily coverage BIENAL
DE FLAMENCO sponsored by:
Diego Amador: piano y cante.
Diego del Morao: guitarra flamenca.
Luis Amador: percusión.
Joselito Fernández: palmas y baile.
Jairo Barrull: palmas.
Miguel Vargas: contrabajo.
Nowadays it’s no longer debated among less orthodox
circles whether or not the piano is an instrument that can be adapted
for flamenco. Each day more fans discover flamenco piano and record
companies are taking note. This has led to a new generation of artists
and the development of “schools” of piano flamenco that
promote and popularize the art.
It took Diego Amador years of learning at home among family the
music he now serves up. He grew up immersed in the world of musical
creation provided by his brothers Rafael and Raimundo Amador whom
he deeply admires, although it didn’t take him long to develop
his own artistic personality and style. From the hardscrabble neighborhood
of “3000 Viviendas” to Seville’s Teatro Central.
And then there was light. Diego, “El Churri” as he
is affectionately called, seated at a grand piano. With taranto
and “Pa lo viejitos” he really digs in. After tangos
he tries to seduce the audience, but not until “Comparito”
(bulerías) does the warmth start to flow, even if it’s
not that profound. “El llanto de la lluvia” is like
a steady drip or a tanguillo toy to raise spirits. And soleá,
his soleá, where he emulates great stars of flamenco, which
is the end of the short first part, just over a half hour in which
he demonstrated his abilities and drawbacks to a nearly packed house.
Churri’s piano is contemporary, flamenco and jazz all in
one, decorated with his special touch. Diego del Morao joins the
group and catches the audience’s attention with his complex
falsetas and accompaniment. The percussion is quite good, always
in perfect compás and responsive to the musicians’
needs. The dark tones return with taranta, then soleá, a
little tangos to lighten up and then bulerías where Amador
forgets the words and is forced to improvise. The repertoire is
Camarón-style, he adds little new material because although
he composes and plays a variety of instruments, his originality
is not what shines. Joselito Fernández in the dance department
is nervous and has some effeminate gestures and suggestive dances.
At the end (it was a short show including intermission) after the
applause, the curtain call: Diego takes the baton and uses it to
strike the piano strings within the grand piano turning the instrument’s
innards into a drum set. Some showy effects, more applause and the