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VERANOS DEL CORRAL 1st week:
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Text: Antonio Conde Hard to believe ten days have already passed since the flamenco series “Los Veranos del Corral” got underway. A series that has not only become the reference for flamenco in summer in the capital of Granada, but which over the years has come to be known as one of the most important events on a national scale. If the initial idea was to give an opportunity to young hopefuls, the experience has led to the re-appearance of some of those who performed here years ago, and who now return as mature artists eager to show what they can do. This is the case for example of Andrés Peña, who returned to the Corral after a long absence. The inauguration the first day set a very high level. Two styles, two ways of understanding and interpreting this art, two extremes which become entwined as the evening wears on, mixing and unmixing without our even noticing it. On the one hand, the avant-garde, on the other, strength. Rafael Estévez and La Moneta. Nearly inseparable, continuous duets. A bit of alegrías seated face to face, staring and observing one another. Martinete that leads into siguiriya, charged with drama, and La Moneta anxious to hit the stage and release her power. Estévez’ dance is different, his arms are like a perfectly controlled windmill. Perhaps he overdoes it though, with many Galvanic details, but even so, his choreography was very well-received. La Moneta once again tapped into the essence in granaínas, as well as in the tangos with Estévez. And the revelation came in the soleá. We saw it not long ago at the Festival de Jerez, and now, months later, it’s surprising. Visceral through and through, the audience was at her feet in a short time. And not without cause. The romance which wrapped up the night, again got people out of their seats.
Photo gallery and video Fuensanta La Moneta After the spectacular opening of the first night, and filled to overflowing, from the province of Cádiz came Andrés Peña and Pilar Ogalla. An artistic team that continues to climb, based on hard work and discipline, and it shows in both of them. Accompanied by the cante of David Palomar and Luís Moneo, and the guitars of Javier Patino and Keko Baldomero, the artistic menu was served. Palomar kept to his custom of starting out with the pregón of the sweet-vendor, Macandé, and Moneo opened with a martinete the color of molten iron. Andrés’ dance is a steady flow of energy, which contrasts perfectly with the lyrical feminine movements of Ogalla. A tandem with great rapport in siguiriya, a duet in which the choreographic effects were the predominant note. Inma Rivero was surprising in her cante por bulerías in which she also danced and was feeling at ease. The soleá of Andrés again reminded us of his personality. Great strength in the execution, each day more perfected although he overdid the footwork. Pilar, with her continuous cadenced hip and waist movements, closing out alegrías in a rather linear fashion but with good taste. The tango fin de fiesta closed the night at the Corral.
Photo gallery and video Andrés Peña & Pilar Ogalla The third night was for dancer Rosario Toledo who conjured up her autobiography through dance. We’d already seen this show which was presented in the street at the Mont de Marsan festival, and later at the Festival de Jerez. The simplicity of the idea was convincing enough. She demonstrated that with great ideas, staging and props are not necessary. The pretext was simple: the story of her life. Her beginnings in classical dance which little by little yielded to flamenco. The dancer delved in to classic Spanish dance. Remember the ballerinas in little music boxes? It was something like that, with the Vito, the Tirorarán, memories of trillas and temporeras set to rhythm, fandangos de Huelva to candlelight, castanets and bolero school. Flamenco finally arrived in the voice of Palomar por siguiriyas. Wearing basic black trousers reminiscent of Carmen Amaya, the dancer created a darkly suggestive scene in which her face said it all. But her personality blossomed in soleá, here it was the Rosario we all know. A brief interlude of cante por malagueñas, and the dancer returned sheathed in a white bata de cola with so many ruffles it looked like Cádiz Bay with rough waters. Back to the Seville school, always very present in her dance and mannerisms, certain poses reminiscent of Matilde Coral of long ago, and analagous forms of Merche Esmeralda.
Photo gallery and video Rosario Toledo
If the first week of the series at the Corral began with a bang, the closing night was for Olga Pericet, a full week of dance. We’re accustomed to seeing Olga in company, with Marco Flores and Manolo Liñán, but on her own she’s quite another thing. The extreme avant-garde line is put aside to apply her small figure to classic flamenco. The backup was provided by singers Mercedes Cortés and José Anillo, the guitars of Arcadio Marín and Antonia Jiménez, and Ana Romero on compás. The same words apply, no costly staging, no Lorca, just a dancer filling the whole stage, period. Who needs more? Pericet took on a stylized farruca, bigger than her own figure, with great care taken to keep the line. A similar approach was used in the siguiriya, although there she didn’t manage to connect with the audience. A cante solo allowed time for the Cordoban girl to slip into the bata de cola which she used to great effect, and the audience took note as was evidenced by the standing ovation and lengthy applause, and they’re the ones that lay down the law after all. They gave Olga their seal of approval. And so must I.
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