The word elegance comes from the Latin elegant and it means “quality of the one who extracts the best”. A very high dose of extracting the best from herself and from her group of scene partners, offered by the cantaora Marina Heredia in a very worked sample, honest and elegant. Of the extensive registers of the repertoire of Artsound, to the female choir with polyphony of perfectly matched voices, the photographs of Lorca, Falla and La Rochinapresiding over the scene, the alternate collaborations of Jaime Heredia and Curro Albaicinplus the omnipresence of that magician of touch and composition called Joseph Quevedobuild the solid framework of this excellent work that vindicates the weight of women in 1922 and that contains an affectionate tribute to the sacromontana zambra.
The show was well developed and he did not lend himself to opaque moments, in a very interesting game of tensions that facilitated attention. Well timed times, Marina was majestic from start to finish, without losing that finesse, that elegance (a word that we will continually use as the apex of this chronicle), that honor and the beauty of its melodic twists and turns. She started the one with the wounded voice with a number titled Incantation. The choral group of women dressed in black appears, like the mourning sea of Bernarda Albacarrying a candle in his hands and repeating, like a litany, the text that Maria Lejarraga wrote for Falla in 1915. The interpretation of Marina Heredia was very successful, she managed to introduce an exact tear and without shrillness into her recitation. Immediately afterwards, the clothing is recomposed on stage to change the sound and visual register, filling the stages with color and facing some fandangos from the Albaicín that begin in the rhythm of Huelva for the beautiful choir of superimposed voices that interpret the chorus. Marina finishes off, already in the rhythmic albaicinera, with the fandango I am stronger than the Alhambrato close a juicy number that brought dynamism to the night.
Enters Jaime Heredia with his grave voice of centuries to face the soleá with the invaluable help of Jose Quevedo and Paquito Gonzalez, which played a discreet and fundamental role at all times. The father of the protagonist searched the airs of Alcalá, with those wrinkles in his voice that bring so much plaintive melody to his executions, so much truth and so much tradition. As the culmination of this cante, he remembered the lyrics that he interpreted Diego the Pincers the night of the 1922 contest. With the guitar at one, he began in the Jerez airs por seguiriyas, to culminate with a rhythmic base of percussion and guitar, por seguiriyas de los Puertos. On stage they remain Paquito Gonzalez and Jose Quevedo to address the Wildfire and the Miller’s Dance, with the impeccable musical calligraphy of the Jerez-born player who was superb in these pieces, backed by impeccable percussion.
Paul Suarez at the piano and Marina Heredia wearing a new dress, perform a piece that achieved a beautiful atmosphere of intimacy. Asturian and nannies in which Marina searched for velvet records to take them to the sweetest and most sensitive ground. the sonnet sweet complaint It is a musical fantasy in the rhythm of bulerías that achieves moments of true pinch, and that fits the text perfectly, respecting the accents with remarkable neatness. This number preceded Curro Albaicin. Lorca comes to life in the Andalusian diction of one of the last bastions of the sacred lineages of Sacromonte. Curro glided across the stage in the same direction as the moon, playing soleá time and tuning the Death of Antoñito el Camborio.
The composition silks of anguish it was simply spectacular. The gear of all the musicians produced a manifest commotion among the respectable. The cantaoras of the choir are very remarkable, fitting the thickness of their musical mattress at various moments of the piece and arrogance Marina Heredia in the performance of this cante arranged with piano, percussion and guitar, where we again appreciate a game of rhythmic and musical tensions that exalt the most sensitive ears. In airs of the taranta of Fruits of Linaresconverted into Phosphorite TarantoMarina continues in the veins of poetry singing to the freedom of women in a theme that culminates with a nod to Maria La Gazpacha one of the winners of the 1922 Contest, in the key of media granaína.
A symphony of colors flooded the stage with the costumes of the artists who made up the choir, to clothe the Professor of Tangos de Graná. Marina made a vibrant tour that showed the wide variety of melodies that sounded in the path of the mount for a good part of the 20th century and broke up in the higher thirds, grating the cante with danced resources and once again using the choruses for several voices that the choir tackled. The show culminates at the highest point with an interesting work on some styles of the zambra: Alboreá, Cachucha and Moscawhich ended in a crescendo that placed the tone of the evening at the top and ended with the audience standing. After the intense applause, Heredia says goodbye with the petaco, sacromontana picaresque style where he asked to dance Curro Albaicindemonstrating that elegance, that night, had the name of a woman, a gypsy from Granada, with blood from Sacromonte and raised in the Albaicín.