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Argentina
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Cante: Argentina. Guitar: José Quevedo “Bolita”, Paco Iglesias. Bass: Popo. Keyboard: Alex Romero. Percussion: José Carrasco. Palmas: Bobote and Torombo. Chorus: Toñi and Victor Carrasco Text: Rubén Gutierrez A MIDSUMMER NIGHT’S DREAM Human beings have always wanted to commemorate heroic deeds with obelisks, triumphant arches, sumptuous palaces and amazing gardens. But a young girl from Huelva had only to appear before an audience with her velvety voice to demonstrate what’s behind her promising career. Argentina won over the ears and hearts of summertime flamenco fans in the capital, and by the walls of the Royal Palace she reaffirmed her candidacy for a flamenco throne she will one day surely occupy.
The pleasant evening was the guest of honor, like in a Shakespearian play, and it was the best atmosphere for enjoying cante. Nowadays it’s hard to surprise anyone, what with the overload of information our senses process every day, but I have to admit, when you go to a festival for the first time, it produces a certain excitement. None of the spectators was disappointed, because Argentina earned her place on a program where most of the other artists are twice her age. The young singer faced the Madrid audience months ago at the Colegio Mayor San Juan Evangelista where she made a good impression. But on this occasion she decided to offer the audience a show she has been taking around Spain, and came with a varied group of artists from different flamenco towns, to create the best cocktail on a sultry summer night. She came dressed in red to add color to the tangos that opened the recital. Standing in the middle of the stage she interpreted a string of verses, from Granada to Extremadura. The chorus and non-flamenco instruments then left the stage for the singer to give her version of fandangos de Lucena with accompaniment between verdiales and jaleo. Then soleá, with echoes of Alcalá and a wink to Tomás Pavón, and granaína of Chacón accompanied by Bola.
The singer’s strong voice took charge of siguiriyas, although I’d preferred it had been without cajón in order to better appreciate her fine sound. One thing in particular about Argentina is her originality. She received her preparation at a school where most students come out sounding like clones, the same verses and styles, even the way they stand on stage, but Argentina has managed to give her own twist and not imitate anyone. If it’s uncommon for a young voice to find a place in the market, even moreso with an original sound, but she’s managing to do it. A rumba instrumental kills time while the singer changes costume, and she returns elegantly dressed in black with a white jacket. From here on she delivers the repertoire from her recording debut, with a series of more modern songs in which the give and take of the guitars and the choruses highlights bulerias, tangos and rumbas. Unfortunatley the endings of the songs weren’t convincing, and tended to be left in the air as the singer prematurely stood up at the end of each one. We also missed Bobote’s and Torombo’s dancing in the final bulerías. Argentina couldn’t overlook Huelva, and the fandangos from her hometown were part of the fiesta finale, without amplification, to evoke melodies from the mountain range of Valverde and Alosno where the best cured ham comes from.
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