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Author and director: Manuel Sánchez Bracho. Musical
director: Paco Javier Jimeno
When a reviewer refers to a show as an “ambitious
work” it often means the writer wants to communicate
the idea that the ambition exceeded the end result. “Sueños
de libertad” is an ambitious work in every sense of the
phrase. A cast that nearly rivals that of The Ten Commandments,
a story of kings and constitutions, battles won and lost,
love both requited and not, executions and of course we couldn't
do without the wedding scene, all told through 35 different
cantes as detailed in the program. But the work never manages
to communicate its story line nor satisfy a large portion
of the audience.
It got off to a poor start with a long narrative with the
annoying off-stage voice used to explain the context of historical
events which took place in Málaga between 1821 and
1831 involving figures such as general Manzanares and king
Ferdinand VII, and the tape wouldn't stop cutting. A girl
comes out and dances a seguidilla bolera that seems to have
nothing to do with the dramatic events augured by the narrator.
A huge crowd of people on stage and they're very good at “pretend
you're in a small town chatting with the neighbors about nothing
in particular”. But it goes on for such a long time that
one wonders if there is ever going to be any music. When a
voice finally begins with mirabrá, there's no amplification
despite the unattractive telephone-operator mike worn by the
singer. The sound gets straightened out along the way, but
continues to be defective making it difficult to understand
many of the specifically written verses that relate the complicated
story. The woman who does most of the singing has the voice
and delivery of a Spanish lyrical singer, with gestures to
match…another sounds a bit more flamenco. Then consider
the degree of suspension of disbelief required to accept such
an astounding array of flamenco cante existing at the beginning
of the nineteenth century, or 'trilla' songs done to the rhythm
of a hammer and anvil.
After twenty minutes one is invaded with that annoying feeling
of “what am I doing here anyway?” and then it comes
like a flash. This work should never have been included in
this festival because it's an operetta in the style of Gilbert
and Sullivan, or a 'zarzuela' if you prefer, and has little
to do with flamenco despite the impressive variety of cantes
listed in the program. The singers are amateurs, very talented
amateurs but amateurs nonetheless, so the presentation can
only be judged as theater and not flamenco. Suitable for a
school program perhaps, even a theater festival, but not for
a cante festival of the caliber of La Unión, and the
many empty seats confirm this thought.
Postive points, because it's not a total waste… Exquisite
wardrobe that effectively evokes the era, “normal”
people, some fat, many middle-aged, giving a degree of authenticity,
and a group of eight musicians on stage providing some fine
musical moments, particularly from guitarist Paco Javier Jimeno
who is also credited as musical director for the work. Memorable
moments: a nice arrangement of “Los cuatro muleros”
sung in harmony by the chorus, fresh and folky; a 'caña'
which also incorporates harmony for the 'ay' portion, in addition
to a cello which provides a sense of foreboding; the scene
of the condemned men who build their own jail right before
our eyes…
But good intentions, novel staging, funding and rehearsals
alone are not enough to make art. In other words…an ambitious
work.
Other reviews 'Festival
Internacional de Cante de las Minas'
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