MIGUEL POVEDA, DeFlamenco.com Prize for the Best Recording and Best Live Show of 2006
“Getting bored is the worst thing that can happen to an artist
por Manuel Moraga
The recording won more prizes than any other of its kind in 2006. It was distinguished by the national critics’ association with the Flamenco Hoy prize for best cante record, and more than 15,000 readers of Deflamenco.com chose it as the best record and best live show over the past year.It’s significant when critics and audiences come to the same conclusion and vote Miguel Poveda’s daring work as noteworthy.
How would you define “Tierra de Calma”? “Tierra de Calma” is a record with a certain commitment, in the sense of continuing to create music within the most traditional flamenco forms while conserving the essence and without sounding stodgy.In other words, there have always been new malagueñas, new cante de Levante, new soleá, but there was a sort of pause in the process at one point and it seemed creativity had run out, either because it had to happen that way, or maybe because that kind of creativity actually dried up.Picking up now where that process left off is much more complicated because there’s so much already done, and done well, but Juan Carlos Romero has placed his bets on that line of thought and I wanted to do flamenco, but a little different.In that sense, the verses play a very important role as far as using the language of popular Andalusian poetry.
Is the record a collection of unrelated songs, or a work with its own continuity and logic? No no, it’s a work.Perhaps “Alfileres de Colores” with Diego Carrasco departs a bit from the concept, but even so, it belongs there because the world of bullfighting is an intregral part of southern Spain, and it represents the Jerez part of my recordings which has always been present through Luis el Zambo or Moraíto.And there are also lyrical songs, I really wanted to record them and they fit right in.The two songs went very well and the fact is, if they hadn’t, I wouldn’t have included them.I proposed the ideas to Juan Carlos, but the rest of the record shares the same concept. And the fact that he created the music, and most of the lyrics, gives a certain coherence to the record.
Juan Carlos Romero is in demand by a lot of artists: Carmen Linares, Arcángel, and now you…In your case, what do you see in Juan Carlos Romero? Commitment.A commitment to the music, to the genre, to flamenco.I see an inquisitive intellect, which goes where no one else does, and he’s very far removed from all banality, anything that would appeal to the “masses”.He’s a very genuine guy, with a great deal of talent when it comes to making music, with great sensitivity for writing verses, and he loves cante.By the same token, he has a very special sound of his own, that you might, or might not like, and a very well-defined personality.
“There isn’t anyone on this planet who wouldn’t like to erase something from their life, but those same experiences led you to others… when you trip and fall, you pick yourself up and try not to fall again, it’s a positive thing to make mistakes the first time around.”
Of all the pieces from “Tierra de Calma” is there any that is especially difficult to define? In actual fact, Juan Carlos’ work is complicated to sing, because there are elements that seem very simple, but in each note, each phrase there is an entire world.He always had a very clear idea, but for me it was sometimes difficult.I interpreted the melody, but he was always looking for a broader meaning.Cutting to the quick, going directly to the note, eliminating extraneous wanderings…It was very hard work, and one of the cuts that took the most work was the soleá “Náufragos del Hambre”, with lyrics by José Luis Ortiz Nuevo.The rhythm, phrasing and intent was extremely complicated.
The difficulty increases when you depart from the classic structure of flamenco verses, which have a set meter, and interpret poetry with another internal rhythm that requires a different approach… Yes, of course, because my background was different.What’s also true is that doing different kinds of music, as we were saying earlier, taught me to be quicker in this regard.For example, the record with Alberti’s poetry nearly gave me a nervous breakdown, because it was four months learning that work which had some very diverse musical passages.So I already had that preparation when I undertook Juan Carlos’ work.It was a little easier, despite the difficulty.For this reason I’m happy to participate in different musical projects, it’s very enriching.
Of all the flamenco records you’ve made, this is the biggest gamble, and yet, it’s the one that 15,000 readers of Deflamenco.com throughout the world voted as the best of the year, not to mention the critics’ association annual award.How do you put all that together? Yes, it was the riskiest proposition of the flamenco records I’ve made, but it was also the most rewarding; when I presented it at the Bienal de Sevilla, where they gave us the Giraldillo for cante, it was magical.They also gave us another prize from Canal Sur.In other words, I couldn’t be more pleased, and I’m delighted to have been able to make this recording.I’m also at a point where I now have an actual career, there’s been an evolution.I can’t deny that my moving south has been an important artistic influence, and I expect there will be more growth.Perhaps some people who used to think of me as “promising”, now see me as a reality.Furthermore, and I say this with the greatest humility, there are flamenco fans who want this artform to have a continuity, and want things to happen, and see artists who are committed.This kind of work lets those people sense a glimmer of hope that the party isn’t going to be over any time soon.So being able to participate in all that, and no grand-standing of any kind is intended, fills me with satisfaction because I’m just another flamenco fan and I’m committed to doing this.
“When I realized there was a part of me that I didn’t have to hide, when I began to feel a bit more free, that’s when they started to sit up and take note”
On occasion you’ve commented that your “tierra de calma”, your quiet place so to speak, is Seville. More than Seville, it’s the magic of southern Spain.Seville is where I live, but in general, I like the south a lot.I like Cádiz, I very much like Málaga where I have many friends from when I was living in Barcelona, in Huelva…My “tierra de calma” is the south, Andalusia, and not just because of flamenco, it’s also the way of life, with all the defects there might be – because there are defects, just like in Madrid or Catalonia – and all of its virtues.I feel there are more virtues than defects; I need the light, the slow pace, the way of life, the philosophy of taking time out to have a drink with a friend, the shortened winter, the beaches… I don’t know, it’s everything.I like Andalusia.It’s fantastic in so many ways.
I’ve been following your career from the beginning. The first time I saw you was at a flamenco peña in Albacete when you had just won the Lámpara Minera at La Unión.After that, I ran into you many times, in different places.You were never the same.You’ve always been looking for your identity, and growing… Are you uncomfortable with comfort? Of course.I need to explore things.For those of us fortunate enough to have been given a certain artistic ability, getting bored is the worst thing that can happen to an artist.I’m incapable of feeling bored on stage.There are ups and downs, either because it’s not your day, or the sound isn’t right, or your voice, etc…These are logical glitches, but boredom is the worst thing.I feel able to participate in other projects, and I need them in order to keep growing.In the beginning I had all kinds of hang-ups.I didn’t feel I was up to the level of the moment.Winning at La Unión was something I never expected…but so soon? …just like that?Suddenly I was in a position where I had to prove myself, and that made me work extra hard, non-stop.I haven’t turned down any project where I had the feeling it might contribute to my growth as a professional.
That’s your external framework, but what’s your interior “tierra de calma”? I feel at peace knowing that I and my loved ones are in good health.One of the things I obsess over the most is the thought that someone in my family, or one of my friends might have a health problem or suffer an accident.It makes me panic just to think of it.When that’s under control, I feel at peace.I also feel good when I can carry out my work, express myself through music, because that cleans me out spiritually.I’m probably more reserved in my most intimate self than when I’m on stage, the very act of singing is like therapy, it gives me pleasure and serves as an outlet.When I finish a concert I feel good and that makes me calm and peaceful.I also value being able to be at home without the telephone ringing, something which is nearly impossible nowadays.
“Music cleans me out spiritually…the very act of singing is like therapy, it gives me pleasure and serves as an outlet”
The day you stop singing we can all start worrying. Yes (he laughs), it would mean no one cares about me any more.
What about the critics, do you pay attention to them a little? A lot? Not at all? I’m pretty laidback about that.After a concert, the next day, I tend to get up late and I don’t buy the newspaper.It’s usually other people who call and tell me what was published.I try not to pay too much attention, neither to good, nor bad reviews.We need critics, and the critics need us, and their work is very important for flamenco, but their opinions are not the last word in an artist’s career.I really can’t complain about the critics, on the contrary, I’m indebted to them, but I know it’s not that important.For example, Enrique Morente, Paco de Lucía, Camarón – although I don’t mean to compare myself to them – were all blasted by critics at one time or another, but their genius placed them above it all.In my case, I’ve managed to handle the bad reviews of the early years because I agreed with them: it was true I was green, that I didn’t transmit.I wanted to do everything right, exactly as on the records, and I gave nothing of myself.When I realized there was a part of me that I didn’t have to hide, when I began to feel a bit more free, that’s when they started to sit up and take note.So constructive criticism is very important.You learn from it.Nevertheless, in Seville, there are two critics who are just plain offensive, even resorting to insult and dragging reviewing down to the groundThat isn’t good for flamenco.But for the moment, no one has insulted me.
“I haven’t turned down any project where I had the feeling it might contribute to my growth as a professional”
Many of your peers praise your voice, the way you use it, the registers…Is there any routine for caring for it?Do you visit any specialist? Nothing.I’m not as careful as I should be, and I’m a smoker.But I’m not completely irresponsible.I’m not a fiesta-chaser who goes out every night, and as far as smoking, a pack lasts me about three days.I’m neither careful nor careless.
A few days ago, José Antonio, director of the Ballet Nacional, commented in an interview that we are the result of the past, and the future will be the result of the present. In what direction is Miguel Poveda looking, to the past, the present or the future? You need all three.My gaze is towards the past because that’s what is required to carry out something in the present, and the resulting work is designed for the future.My greatest dream is that what I do in my life serve some purpose in the future.When you realize this is something God gave to you, it’s not just a gift to sing and be applauded, it’s a commitment to the genre, to the music, and to life, and you become a sort of spokesperson for many things.When you take stock of all this, what you’re trying to do, at least in my case, is leave behind something with value for the future.I don’t mean that in the egotistic sense, but rather because it would be selfish to go through life and not have left something useful behind.I’ve made some worthless records, but then I’ve got others that just might open a door of enlightenment for someone, that would be fantastic!And that’s how I want to continue, because the future is very important, not only for me, because inevitably I’ll eventually lose the ability to sing, I’ll sing worse and worse until I have to retire, but rather I’m speaking about a more distant future.The way things are now on television, world culture, etc., it would be a tragedy if this were to be lost, so if I can put my few grains of sand to keep that from happening, along with others in the profession, that would make me very happy indeed.
Does that add up to responsibility? Lots, but it’s something I want to take on.In the end, maybe it will all have been for nothing, but I’m going to try.
Do you have any regrets? Looking back, there are some things I wouldn’t have done, because there are always things that are like a thorn in your side, but that’s part of life.You have to go through everything.There isn’t anyone on this planet who wouldn’t like to erase something from their life, but those same experiences led you to others.“All’s well that ends well” they say.It’s the apprenticeship of life, and the bad thing would be to keep making the same mistake.But when you trip and fall, you pick yourself up and try not to fall again, it’s a positive thing to make mistakes the first time around.
Flamenco is a very personal art…is the interpreter also the author? Of course, because the same thing in different singers sounds completely different.I can sing the malagueña of Enrique el Mellizo and it’ll sound one way, and if El Pele for example sings it tomorrow, it’ll sound completely different, doing the same malagueña.
On a scale of one to ten, what satisfaction score would you give your record? Twelve! (he laughs).At least for now.As time goes on I’ll be doing more things as interesting as “Tierra de Calma”, but at this point in time the personal satisfaction is at maximum.
