Category — Flamenco Singer José Valencia
Singer José Valencia and Dancer Pepe Torres at the 2014 Nimes Flamenco Festival – deflamenco.com report by Estela Zatania – translated by Brook Zern
Flamenco’s Geographic and Human “Interior”
Thursday’s flamenco schedule at the Nimes Festival began with a noontime conference by our friend José Manuel Gamboa about France’s contribution to flamenco, a history of French fascination with the art in the Nineteenth Century when it was rejected within Spain. As Gamboa explained, and as is verified every year in Nimes, those early links have never been broken.
At night in the theater, it was the turn of the best of Morón de la Frontera and Lebrija, two indispensable elements in the flamenco axis centered on Seville, each town with its special and unmistakable perspective. If the Morón scene was dominated by the relaxed aire of Diego del Gastor’s “cuerda pelá” or stripped-down guitar, Lebrija was propelled by the intensity and urgency of the flamenco of Jerez and Cádiz. That’s the source of the musical personality of singer José Valencia. A still-young yet mature singer, who is striving to open a professional path as headline in the art after decades singing as part of the finest dance companies, unwavering in his defense of classic flamenco song. No ditties, no bouncy pop. (Ni temitas ni temitas.)
The winner of the Giraldillo al Cante prize at Seville’s last flamenco Bienal as well as on two earlier wins for cante accompaniment of dancers and as the Revelation prize for new talent, he was accompanied by the Malaga guitarist Juan Requena, who received the Giraldillos prize for Song Accompaniment. With his first recording now two years old, and another in preparation, and with the admiration of his colleagues as well as aficionados, Manuel Valencia is now at his finest professional phase.
His appearance onstage was met with clamorous applause. And soon that big, round and flamenco voice filled the air with cantiñas with the distinctive flavor of Lebrija. In the soleá, he started well, but suddenly something went wrong with his throat that resisted an easy resolution. With great musical expertise, Valencia sought out less brilliant tones and less demanding song styles, saving the situation thanks to his knowledge and professionalism. The free-rhythm malagueñas leading into the rhythmic or abandolao version went well. In the siguiriyas, the instability of his throat gave an added touch of warmth to José’s normally Pavarottian singing. He then decided to take a real chance [cortar por lo sano] with a marathon round of bulerías, out front and alone before the possible danger, with no other accompaniment than the discreet handclaps of Juan Diego Valencia and Manuel Valencia, and the muted knocking of Requena on his guitar. The singer loosened his necktie and spoke into the mike: “I don’t want to defraud you. I’m going to die right here!” He then launched into a series of classic bulerías with great taste and gusto, and some semi-danced touches; even his vocal chords obeyed, and with those bulerías all the rest would have been too much. Animated, José Valencia rounded off this difficult recital with a martinete in the style of Antonio Mairena.
After a rest, we returned to our seats to receive a outburst of Moronism though the art of Pepe Torres and his group.
Morón de la Frontera has produced a surprising number of dancers, of whom the maximum present-day example is Pepe Torres. His work is held in high esteem by aficionados because despite his youth, he conserves the art of the older generation, not as a museum-bound relic but by giving new life and validity to the approaches of El Farruco, Rafael el Negro, Pepe Ríos, Paco Valdepeñas, Antonio el Marsellés and even el Gineto de Cádiz, all reflected in his dance.
Pepe, polyfaceted as he is, added the beautiful touch of opening with his rendition of siguiriyas on guitar, an homage to his granduncle Diego del Gastor. He then danced to the tonás and the siguiriyas, with an interlude for a vocal and guitar rendition of the tarantas.
His danced alegrías is one of the high points of the recital, done to the song of Luís Moneo, Moi de Morón, Guillermo Manzano and David el Galli, and the immense guitars of Paco Iglesias and Antonio Moya.
A solo rendition of the sung tientos tangos, and afterwards the soleá, the form most closely identified with the Morón locale, and a long and tasty finale por bulerías. Pepe then called José Valencia and his group, and it all ended up in a classical fin de fiesta to the delight of the audience.
End of article by Estela Zatania in deflamenco.com The original is seen at:
January 17, 2014 1 Comment