Recently acclaimed at the Gran Teatro Falla in Cádiz, awarded the Venencia Flamenca of the Mistela Festival of Los Palacios and praised for her performance at the opening of the Foro Iberamericano de Huelva, along with fado singer Mariza, Argentina can’t be idle. Now she’s preparing for Madrid’s “Veranos de la Villa”, as well as working on a second recording.
How’s the record coming along? We’ve got 90% of the pieces, the thing is, for one reason or another, it’s on the back burner. Sometimes it’s the producer, other times it’s our own fault… So we put it aside in order to be more tranquil, and most likely at the end of the summer we’ll get everything together and finish the work, hopefully.
How do you decide on the concept, and what goes on a record? The first record just about made itself. Material came in from composers and friends, and we developed them. And since that first record went so well, we want to prepare this one in the same way. There’ll be some more traditional forms, and some more modern ones for the general public, for those people are aren’t interested in soleá or siguiriya.
We all have the image of a dancer rehearsing in a studio, or a guitarist practicing in his room…where and how does a singer study? In my case, thanks to the Cristina Heeren Foundation, I received a good background and they made me aware of all the great artists of old times who left their legacy to later generations for us to study and take advantage of. That’s where I got the basis, and what I do is go to record stores to get the work of people like Fernanda de Utrera and Juanito Mojama for example. I listen, I study it, and when I find something I like, I try to learn it and adapt it to my style, my way of feeling.
“I’m a perfectionist, although I know perfection doesn’t exist”
And then do you practice at home, or work things out right on stage? No no, I always practice alone. I’m a perfectionist, although I know perfection doesn’t exist. I like everything to be well-planned out.
You’re relatively young in the professional arena. You have a ways to go, but you’ve come a long way with your first recording, and now the second on the horizon. Do you think you’ve changed? Do you express yourself differently? For example, when you listen to your first record, do you think you would do it differently today? Totally. Even right after the recording was finished, I told my manager Luismi that I would have done things differently. The evolution has been very swift. On that record I still have the voice of a little girl, but I’m not the only one who’s noticed the change. Audiences have also noticed. And I still have a long way to go, my voice, the way I express myself… Thanks to the studio day after day, I getting closer to what I’m trying for.
What I mean is, it hasn’t been that long since your first record, which received the prize for best recording by a newcomer, and already you show up on the most important programs, receiving prizes like the Venencia Flamenco of the Mistela Festival. Is success a good travel companion, or does it need to be reined in? Success is like a piece of candy, nobody complains about it. We all like to be appreciated, and to be seen in another light. Artists need some degree of success, because if not, it would be very sad, just imagine: “you sing very well but…”. It’s the “but”! Artists need some degree of success to keep their morale up. But always with discretion, you also have to learn to be a real artist and understand just what that means.
On August 10th you perform in the Madrid series “Veranos de la Villa” in the Sabatini gardens. Are some cities more important than others when it comes to singing?
The most imposing cities for me are Madrid, Seville and Huelva, or at least they’re very important for me, because I always want to make a good impression and keep the audience satisfied. I’m the first one to assume the responsibility, and I’m the one who has to go out there, but I also know the musicians believe in me. Even so, I know there are many people in Huelva, Madrid and Sevilla who understand about singing, and also many critics, so you always try a little harder in these places.
”Success is like a piece of candy, nobody complains about it”
Do you have a set show, or do variations on it? It depends on the show, which also depends on the place. If it’s a flamenco festival for example, I don’t bring a chorus or bass or piano. I know I’m going to sing siguiriya, soleá or cartagenera…
And what are you thinking of doing in Madrid? In Madrid I’d love to do equal parts of modern songs and flamenco, like siguiriya and soleá. It’s what I’ve got on the record, so it will be like a second presentation.
Do you keep a book on the night table next to your bed? I’ve got “Cien Años de Soledad” of Gabriel García Márquez…although I started it a long time ago, I never finished it, but I want to pick it up again. I’ve got another waiting in the wings, “La Fuerza del Optimismo” by Rojas Marcos. Sometimes I can be very negative.
What’s better therapy for you, flamenco or a psychiatrist’s book? [Laughter]. They’re two very different things. Psychiatry is much more personal, while flamenco is what I’m fighting for and what keeps me going on…both things are therapy.
What would be the trip of a lifetime for you? To Argentina, of course.
Accompanied? Or is there little room for romance in Argentina’s life? Accompanied, of course. Alone, I don’t know how to go anywhere.
Do you pray? Sometimes.
To whom? It depends. The Virgen del Rocío is close to my heart, and the Virgen del Carmen… It depends on the situation.
Do you have different virgin for each thing? Yes.
The ex–director of the Agencia Andaluza para el Desarrollo del Flamenco, Bibiana Aído, is now Minister of Equality. Does there need to be more equality in flamenco. From my point of view, I think men have changed roles, whether it’s performers, programmers or whatever. They respect us tremendously, and there’s always a woman in every festival. But I think we have to keep fighting, of course, because there’s still a lot of male chauvinism in our society.
Are you more given to laughing, or crying? Laughing, without a doubt. I think it’s the best way to loosen up.
If you could be born again, would you still be a singer, or have you had time to regret the decision? Of course I would do it again, but I would have started much earlier.
Are you romantic? [Silence] Well…. Sometimes. Just a little, but sometimes.
For example? What’s your idea of a romantic dinner out? In what city? What kind of place and food? I’m not asking with whom, because that’s personal. [Laughter] In Paris, because I’ve never been there and I’d like to go.
Are you accustomed to making decision about your life? In actual fact, I’ve always been a conformist. I did whatever my friends did. But as you grow up and take on responsibilities, you have no choice but to take charge and make your own decisions. Now I’m more in control of things.
Was it hard to learn to say no? Actually, yes. I think it’s something I still haven’t learned. I don’t know how to say no to anyone. I can’t.
And so ends the interview… In light of the last response, it’s too bad I didn’t think of inviting Argentina to dinner in Paris…
