|
La Cuadra – Dance: Lalo Tejada, Marco Vargas,
Francisco Carrasco, Magui Reguera, Viridiana Ramírez, Carrolina
Morales, Anabel S. Gavilán. Cante: Ana Peña, Kina
Méndez. Guitar: Manolo Berraquero, Miguel Aragón,
José del Valle. Flute, dance and percussion: Juan
Romero. Monjes: Victor Manuel Contreras, Melvi
Díaz. Sopranos: Alicia Murillo, Ana Mª
Giménez Valle, Trinidad Pérez Granadino, Aurora Perea
Moreno, María Jesús Vilches Jaén. Monjes:
Victor Manuel Contreras, Melvi Díaz. Director:
Salvador Távora.
a guitar recital with no backup musicians, a guitarist alone with
his instrument, fighting to pull beautiful sounds from a piece of
wood with nylon strings is no common sight ever since Paco de Lucía
popularized the sextet format and an entire generation of guitarists
set out on the musical adventure. So it was a genuine treat to be
able to hear Javier Conde. the child prodigy from Cáceres,
in the Sala de la Compañía, interpret classic compositions
of Paco de Lucía, Esteban Sanlúcar, Serranito and
above all Sabicas with the skill of a veteran. The fifteen-year-old
who was unable to attend his own press conference because he had
exams, still needs to have his heart broken a couple of times as
one person commented, before he reaches the expressive level of
his idols, but the hardest part, the technique, is quite nicely
under control.
Javier Conde
the Villamarta Theater, a theatrical work with flamenco references
demonstrated why the vast majority of similar works don’t
come off. Precisely because they are “flamenco with theatrical
references” instead of vice versa. “Imágenes
andaluzas para Carmina Burana” is pure, unabashed theater
from director Salvador Távora, Spain’s answer to Fellini.
Things don’t need to make sense
With this provocative and fascinating production Távora seems
to be saying: “I do theater with Spanish and Andalusian elements,
because I am Spanish and Andalusian”. Flamenco as such is
just another element among many: live horses who dance and weep
paper petals, inebriated dwarf monks, a virgin who descends from
above, sheds tears and rises back whence she came, wind machines,
imaginary bulls and gorings, Andalusian flags, flying angels, sopranos,
a strictly black and white aesthetic and an outsized iron cross
suspended in mid-air which is later used to present the unsettling
image of a crucified woman. In the press conference Távora
explained that “things don’t need to make sense”,
and the premise works because the overall effect has all the sense
that’s lacking in less fortunate productions where flamenco
seems merely decorated with incongruous elements.
Manuela Carpio at the Fernando Terremoto peña
The most satisfying day of the festival so far would up at the
Fernando Terremoto peña with the dancing of Manuela Carpio
with the special surprise treat of the Jero brothers, Periquín
and Antonio Carrasco providing the sizzling accompaniment.
Text : Estela
Zatania
|
|
Theater
Villamarta Program
De Peña
en Peña Program: Trasnoches,
De Peñas, Peña de Guardia
Other
shows(Gloria Pura, Bordón
y cuenta nueva, De la Frontera, Café Cantante, Sólos
en Compañía)
Courses
and workshops