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JUAN HABICHUELA, grandson – Guitar concert |
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Text: Pablo San Nicasio Ramos “Ansias” The concerts at the Teatro Español are in full swing. Eugenio Gurumeta and Paco Ortega have managed to bring nearly unknown artists to the attention of the general public, with good box office results. That’s the first point in his favor. Second point, for managing to keep these shows with various interpreters from becoming the marathons we see at other festivals where we know what time we’re going in, but not when we’re coming out. On this occasion, three flamenco artists for one half hour apiece. No one went into overtime. If you can’t show your stuff in a half hour, something’s wrong. Third point, for bringing young artists with true flamenco quality. It remains to be seen what they do with it. With their obvious desire to make it to the top, success is practically guaranteed. On Saturday night it was the turn of three very young and very different artists: Juan Habichuela, grandson, on guitar, Tamara Escudero singing and Selene Muñoz dancing. The youngest of the Habichuelas has been showing promise for quite some time. We didn’t know of his soloist ambitions, but were well aware of his ingrained flamenco sound and forms which were on display with Enrique Morente, his most important trampoline. The young man presented four pieces that were real solos, something thoroughly admirable in this day and age when guitarists hide behind a multitude of other musicians. Only Bandolero keeping compás with a couple of palmeros. But it would almost have been better without the cajón which was overdone in some passages. The opening was an original rondeña, a little shaky at the beginning, but coming into focus little by little, and then an impressive tremolo with sounds that were reminiscent of Manolo Sanlúcar’s “Oración”. That, and a well-executed pizzicato, were both highpoints. The solea confirmed the old-school flavor of this Carmona, a guitarist who doesn’t go in for pretense (his natural look is already flamenco), but who nevertheless manages to grab the audience. Juan has a lot to offer, great ideas and capacity, but the soleá was a little brusque. Again, the impatience. But even so, it sounded fresh because it offers a new take on roots that many may have forgotten. With alegrías, the flash of mad genius came on strong. There were melodies adapted from Paco de Lucía, as well as old-school riffs, a difficult three-finger picado and a very strong thumb, which was particularly evident in the bulerías ending. Pure fire this Juan Habichuela Junior, without a doubt the outstanding performer of the night as far as novelty. Tamara Escudero is a good-looking girl from Castellón (another Escudero in flamenco). With her very sweet voice, almost identical to Estrella Morente’s, we met Tamara in Madrid after her appearance in Suma Flamenca. However on this occasion, she didn’t have an easy time. She had Israel Jiménez on guitar, a musician with noteworthy technical ability, but a lack of coordination in the singer’s closings, even managing to overshadow her at times. They began with soleá, at breakneck speed. Anxiety and nervousness upped the metronome considerably making it impossible to savor the singer’s wonderful registers. In taranta and cartagenera, Israel placed a tremolo falseta worthy of the best soloist, but the improvised closing ruined it all just when the two had begun to settle down and Tamara was giving her best. Fandangos and tangos again put the couple’s best foot forward, but still with some weak spots. As with the first act of the night, we’re talking about people surrounded by the best counsellors. In any case, this was a performance to learn and draw conclusions about oneself regarding the future. The second part offered a change of pace with the dancer of exotic origin, Selene Muñoz. The beautiful girl from the Balearic Islands has a background that covers both contemporary as well as classic dance, with flamenco being somewhat secondary for her. She has passed the point of basic concepts and dances in a visceral manera. |
More of a classical dancer than a flamenco one, Selene is capable of turning every movement into a calendar-perfect photograph. She has everything to be a true icon, a muse. Furthermore, she knows what her place is on stage and manages the sequences, lighting and dialogues with the audience. She is original even in her choice of back-up, paying much attention to the wind instruments (Diego Villegas was wonderful again), and surrounding herself with great guitarists such as Jesule Losada.
The music that accompanies Selene is as eclectic as she is. One example is the wink to Argentine tango in the middle of a heelwork section in alegrías.
Selene is just missing the passion and charisma that flow so freely from young Juanito Habichuela.
All in all, it was an evening with some good points, and others not so good, but in which without a doubt there was plenty to talk about, and great hopes for the future.
More information.
- Videos: Juan Habichuela nieto.