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Cante: Paco Taranto, Diego Clavel, Nano de Jerez,
La Tobala, José de la Tomasa
Toque: José Luis Postigo, Antonio Carrión, Eduardo
Rebollar, Pedro Sierra
Dance: Pastora Galván con cantaores Ricardo
Rivera, Pepe de Pura, Juan José Amador hijo y Miguel Rosendo.
Toque, Miguel Ángel Iglesias.
| Daily coverage BIENAL DE FLAMENCO sponsored by: |
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Just like the festivals
Once again we were in place at the appointed time, full
of optimism and ready for an evening of flamenco cante and dance.
The presentation ended shortly after one. It looks like the Bienal
wanted to program something similar to the summer festivals, complete
with the deficient sound, poor amplification and lengthy bill of
artists so typical of these events. But not all was lost and plenty
of good cante was served up.
Paco Taranto is a master of the low tones as shown in his minera
and taranta followed by abandolao cante. In the solea he really
got involved with an assortment of Triana styles, always giving
them their proper measure. The melodic difficulty of these cantes
was no obstacle for the singer whose voice dramatically cut through
to the core without any need to resort to shouting. Two malagueñas,
one of them in the style of Pepe Marchena, and a fandango of Frasquito
Yerbagüena, and the cantaor received a warm and well-deserved
applause.
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Diego Clavel &
Antonio Carrión |
Diego Clavel accompanied by Antonio Carrión on the guitar
was undoubtedly the night’s worst punishment. Granaína,
tientos and cartagenera. He began with a lung workout, repeating
‘ays’ as if it was piecework, and the continuous pumping
up and toning down of the volume of his voice became irritating.
Diego wanted to surprise with his raw scream but the massive “ole!”
never arrived.
Next up was Nano de Jerez with tangos, a bit hoarse perhaps, but
as always, brimming with compás. Just a few verses and so
much for the first cante. Cantiñas followed and the audience
begged for his famous “Bomero” routine. His bulerías
was obviously geared to please, with dance included, but the requested
number was not forthcoming. Guitarist Eduardo Rebollar was with
him every step of the way.
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| Nano de Jerez |
After intermission, Tobala sang better than usual. She was right
on for alegrías, tientos and bulerías with touches
of alboreá with well-measured lines. José de la Tomasa
opened with soleá, giving his best and not skimping on feeling
for siguiriyas and cabales. A true flamenco singer with touches
at times reminiscent of Chocolate, he sang fandangos of Pies Plomos,
his father and his mother, la Tomasa. Pastora Galván closed
this “festival night” with her dancing, tangos and alegrías
with bata de cola.
Text: Kiko
Valle.
Photos: Estela Zatania
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