Vicente Aleixandre He stated that, in one day, García Lorca He could go from being an innocent angel to a tormented loner when the moon 'macerated his head'. That is why Federico found in the marrow of the cante a mirror for the peaks and depths of his expression. That which went from jubilation to black sorrow, from heaven to hell, in a single beat, in a single verse.
Some chiaroscuros that he intuitively transfers Miguel Poveda for your version of the Poem of the Cante Jondo, and other creations, in the staging of Federico and the Cante. Because the singer has known how to connect with the essence of the poet and his 'pathetic evocation of love under other moons and other winds'.
The prints follow one another faithfully to the original texts. The cabal of Silverio, seasoned by siguiriya with a first nod to Manuel Torre, invites you to that Granada of 1922. The caña of the Tongs and the child's fandango El Caracol, the granaína of Chacon and the taranto with fandango by Manuel. A declaration of intent to seek 'the moss-covered voice' of Pastora Pavón through tientos and tangos, cantiñas, lorqueñas and petenera. In the peculiar Lorca vision, The Girl with the Combs She was a Greek goddess, Manuel Torre a pharaoh or Juan Breva a giant with a girl's voice. Federico was already a poet intensely seduced by the literary avant-garde of his time. Therefore, a success of Alberto Conejero escape from local customs to offer that subtle modernist touch open to the universal.
«The romance of La Guardia Civil, which Lorca set in the city of the gypsies, served as a link to the intimate Silence. But there was a surprise left… Surrendered by the applause, Miguel invited Arcángel and Israel Fernández from the stage, who joined in at the end of the party»
The bulería, as an interlude, symbolizes a bright midday in the Santiago neighborhood. Then, along the paths of temperance, Miguel arrives in Seville for soleá to pay tribute to Thomas Pavon. Aromas of Joaquin from Paula, The Twin y Beans, but finished off in Triana-style fashion. A propitious exchange to evoke Juan Breva with malagueñas and abandolaos. A separate point for the bambera that his majesty danced for Poveda Eva the Peppermint, taking the complicity of both to the Olympus of gestural expression. The repajoleros contributions should also be noted -cante and word– of Manuel Monk, acting as a supporter. And of course, the excellent performance of the entire cast that carries the singer on their shoulders.
The Romance of the Civil Guard, the one that Lorca placed in the city of the gypsies, served as a link to the intimate SilenceBut there was a surprise left… Surrendered among the ovations, Miguel invited from the stage Archangel e Israel Fernandez, who joined in at the end of the party.
And at the exit of Villamarta, on a platinum night, a glass Blue Rooster sang for Jerez de la Frontera.
Credits
Federico and the cante, by Miguel Poveda
Villamarta Theatre in Jerez
20 2024 December
Cante: Miguel Poveda
Guitar: Jesus Guerrero
Percussion: Paquito Gonzalez
Choirs and palmas: Carlos Grilo, Miguel el Londro and The Makarines
Special collaborations: Eva Yerbabuena, Manuel Monje, The Tatas of the Santiago Neighborhood Peña Uncle Jose de Paula: La Majuma, La Yoya, Luisa Garrido and Victoria Prado
