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‘CORAZÓN DE ABRIL’ |
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SPECIAL BIENAL DE FLAMENCO DE SEVILLA 2008 Text: Gonzalo Montaño Peña Cante: Guillermo Cano; Guitar: Rubén Lebaniegos; Percussion: Patricio Cámara. Special collaboration: Makarines. Huelva singer Guillermo Cano bared his singer’s soul to show his true flamenco identity. An identity based on the classics that have most shaped him and formed his personality: Manuel Vallejo, Pepe Marchena and Carbonerillo, based on his contemporary personality. The recital was dedicated to the late dancer and choreographer Mario Maya. It wasn’t the best time of day, eleven o’clock at night, and Sunday wasn’t the best night to go to bed late. Nevertheless the Alameda theater was full for this recital. Guillermo has a powerful, sharp, tense, almost feminine voice, rich in vibrato and melisma. Many winks and nods to classic singers run throughout his interpretations, although there’s always room for his own personality which lends a modern, genuine feeling. The young singer opened with fandangos strongly reminiscent of Pepe Marchena and even Camarón de la Isla. Quite a declaration of intent that was followed by soleá which he dedicated to Vicente Amigo. His strength was put to good use in granaína, and afterwards in fandangos where he sought out the highest notes he could produce, and in fact, needs to be careful to avoid a certain strident delivery. This singer’s sensitivity and good taste are palpable as demonstrated in the milonga and the guajiras, although he sweetened them a bit too much and they lost some of their essence. He also resorts to hackneyed techniques that seem destined to being crowd-pleasing. The same thing happened in alegrías in the style of Arcángel, also from Huelva, sounding like popular song rather than cante. I don’t think Guillermo needs to depend on such tricks to open his cante to a wider audience, and it was clear from the audience’s reaction that people want to hear his more flamenco facet. Seville guitarist Rubén Lebaniegos gave the precisely right touch for Cano’s singing, a style based on classic forms, but with enough personality and boldness to add contemporary scales and chords. He always keeps his place as accompanist, patiently waiting his turn to display technique without being excessively showy. More fandangos, and a toná closed out a recital in which the singer’s voice, his allusion to the classics and the guitar were the high points. Although it was somewhat marred by outdated techniques that no longer impress listeners. Noteworthy is Guillermo Cano’s degree of commitment, he held nothing back and was rewarded with shouts of “Ole Guillermo, you are truly flamenco!”
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