Esperanza Fernandez, the avant-garde veteran of cante, an image of diversity.
María Terremoto , the youngest winner of the cante, present in all the flamenco saraos in and out of Spain, image of the Jerez tradition.
Esperanza Fernández performed at the Green Hall of the Theaters del Canal on June 9 (2019) with the exciting show Poema del Cante Jondo by Federico García Lorca , this year in that one hundred of the poet’s arrival at the Student Residence of Madrid is fulfilled.
Accompanied by the trianero actor Antonio Dechent , who served as introducer to the poems that Esperanza sang or danced Rosario Toledo; on the piano was Chiqui Cienfuegos, on guitar Manuel de la Luz , on double bass Pablo Báez and on drums Lito Mánez A cast that knew how to create beauty, mystery, deep emotion, memory of the past tense. Above all BEAUTY.
Together they created a beautiful theatricalization of the Cante Jondo Poem , which was born in the shadow of the 1922 Cante Jondo Contest – represented with a poster – and was published in the Republican spring of 1931. Antonio Dechent left alone, a point of light in the blackness of the scene, to recite the Baladilla of the three rivers , -Guadalquivir, Darro and Genil- that delimits the geographical and thematic space of the Poem </ em>.
The guitar groans to the chords of the Poem of the Roma gypsy . Esperanza comes dressed in black and silver on the back. Fill the scene with his figure and the subtle power of his flamenco voice. They are poems in the form of a woman: The seguriya is a brunette girl; the soleá is a woman dressed in black cloaks; with the poem of the saeta the Virgin is sung in Holy Week and the petenera is a gypsy dancer, -Rosario Toledo-.
Solemn poems of pain, crying and tragedy. Lorca shaped jondura to his childhood experiences in Fuente Vaqueros throughout the gypsy world: the song is more scream than gesture, the thread that unites us with the impenetrable east. Of the letters of the primitive Andalusian cante or cante jondo, Federico said: Pain and grief at the service of the purest and most accurate expression, which in the poem takes the form of a desperate woman in search of love , present in all the work of Lorca.
Everything was present at the concert. Recited, sing, dance, sing and play duets, dance and percussion duos, an impressive dance solo, soloists, duos, threesomes, quartets. Dechent and Rosario, constant reciting presence of Dechent. Rosario dancing the Sevillanas composed by Lorca, Viva Sevilla. Protagonism of a slowness full of Lorca’s symbols, with its ancient Andalusian tragic vision of sad and static people, where love and death, pain and grief form the corpus of the jondo .
Esperanza de blanco, modelazo that enhances his high figure and symbolizes other songs. The song of the mother of the Bitter and the always exciting in all its versions of the Gypsy Zorongo of Poems of the Soul .
My darling’s hands are embroidering a cape
With wallflower aggregate and water slave.
When you were my boyfriend for the white spring,
The hooves of your horse, four sobs of silver.
The moon is a small well, flowers are worthless
What is worth are your arms when they hug me at night.
What else to say. Wonderful instrumental coordination, singing, dancing, recitations of Dechent that here were the soul of the show, under the direction of Luis Rodríguez Luna. There were winks at Morente , Shrimp , Gades , Pata Negra and Ricardo Pachón . Antonia Mercé and the Argentinita were at the feet of Rosario Toledo. All of them, or present in the life of Lorca or in Lorca revisited to revolutionize flamenco. Lorca’s spirit floated around all the time. His photo presided over the scene.
Cante Jondo Poem premiered at the Lope de Vega Theater in Seville on April 26 with the same artists. In Madrid, a milestone of the Flamenco Sum.
I had been chasing this trace of Maria for the festivals of Seville, Nîmes and Jerez, but the days never matched me. Finally, on June 11 (2019) I saw her in the Black Room of the Theaters del Canal.
Dressed in black and then white, this time the Jerez-born cantaora, recently in her twenties, spent more time standing, walking the stage, than sitting and that means an important evolution in her attitude on stage.
María received the Giraldillo Revelación award at the Seville Biennale 2016, shortly before she turned seventeen, the youngest to get it in the history of the Seville prize. He presented his first album The imprint of my feeling at the Seville Biennale 2018. And the same year, in Los Palacios, the Flamenco Venencia Award.
Maria has a lot of responsibility when singing. Not surprisingly there is a father and a grandfather with two monuments in Jerez de la Frontera, in front of and behind the church of his most emblematic neighborhood. To Jerez Earthquake in front of the Santiago church, Fernando Earthquake behind. That marks.
Maria has a very flamenco voice and an amazing vocal power. It only lacks vocal technique and the essential respiratory domain. She knows it. The problem is that Maria does not stop, she is in all the flamenco festivals, I have already mentioned three in a few months. He was also at the last New York Festival, will be at the next London Flamenco Festival, with the same Gala Flamenca that we will see today, June 13, in absolute premiere, in the Red Hall of Theaters del Canal , perhaps the biggest milestone of this Flamenco Sum 2019.
Maria doesn’t stop, but she should stop a little to acquire what she needs to be great. He has a wonderful raw material in his voice, technique and breathing are a matter of professional training.
The imprint of my feeling how could it be otherwise, compiles the songs that have accompanied him since his childhood. Cante very Jerez.
Start alone, standing before the audience so close! from the Black Room. Almost like a tablao, but without tablao. In acoustic. Without accompaniment, because it starts going back to the most primitive, the toná. Surely the first footprint received.
Follow some joys composed for her by Antonio Ingueta son, Part of me, some very modern joys, with musical structure, that you don’t buy, different from those of a lifetime . They are Alegrías of Jerez, different from those of Cádiz.
María has a surprise, nothing less than Pedro Ricardo Miño , son of the dancer Pepa Montes and the guitarist Ricardo Miño . He, one of the best flamenco and non-flamenco pianists of the current piano scene. Authentic gift.
And what do they surprise us with? With a song by Raphael , Without it, with Maria standing before the piano. The girl has a voice with which she can sing whatever she wants and it is a joy to see her leave her traditional canons. True, the song aflamenca, but what does it matter? Then, while Maria is changing, the pianist offers a recital with improvisations about his compositions.
María in white, with a tunic dress, with very wide sleeves that are part of the dress, which is adjusted above the waist, with what looks like rhinestones.
And in white he sings for soleá , Bronze sounds and then for seguiriyas , Santiago and Santa Ana , part of That trace of yours. He missed that he told us what trace those songs come from, he missed the reference to his ancestors, until Paco la Luz. A matter of acquiring tables. He missed that he told us the meaning and origins of The imprint of my feeling when he made reference to his first album.
Two rounds for bulerías to end with Light on the balconies , bulerías of Jerez who once again sang before the public, now, accompanied of all his artistic cast. His inseparable Nono Jero on guitar, percussion Ané Carrasco and choirs and palms Ezequiel Montoya and El Pechuguita . Come on, all Jerez with a lot of art!
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