I don't know how many times he has explained it Esther Merino (Gévora, Badajoz 1984) that Extremaduran tangos are not basket-making tangos, nor are jaleos bulerías al golpe. That Extremadura has been flamenco since before its name was fixed and that urban planning limited the Plaza Alta in this way when it was already much more: cradle of the canteExtremadurans, with their experiences of both non-Gypsy and Gypsy people, and a stage for the history of flamenco long before Tony Gatlif fell in love with the location and filmed Latcho Drom.
“I’ve had to explain it countless times. It’s true that tangos and jaleos, our canteThese are the ones that define us, even though we have many more, but these are undoubtedly our touchstones. Tangos exist in other regions, although those from Extremadura have their own unique character, but jaleos define us completely, because it's true that they have a much slower rhythm than bulerías—much slower! We artists often make the mistake of adapting them to bulerías or speeding them up, but Extremaduran jaleos, even though they have that distinctive beat—because it's true they have an accent—are much slower than bulerías. They are also characterized by their lyrics. Lyrics that tell us about our customs, traditions, the livestock fair, the Feria Chica (Little Fair), the deals, and the... wet of the rod in Zafra… And also, all those that tell us about the work and daily struggle in the countryside.”
Faced with the responsibility of birth, Merino, Miner's Lamp in 2022He never wavered, either on or off the earth. With a complain and a force that defines their fight with the canteIt has undoubtedly been her tenacity, and keeping alive the invisible thread that unites tradition and the present, that has led her to be recognized by those in the know. Her audience, not given to grand gestures, but which maintains the orthodoxy of respect and the art of listening. That necessary safety net for those who, like this flamenco singer from Extremadura, refuse to fish in troubled waters for the gains of others.
“Many times I’ve had to ‘hold up’ the person who was with me. Pull back with the palmas"Especially for guitarists, because as I said, we always tend to rush. The last third defines the jaleo; that's where you can tell if it's finished with bulerías, or truly with jaleos."
On Sadler's Wells Theater in London, international cradle of dance and of canteOn June 20th, the woman from Badajoz, accompanied by the guitar of Manolín García, Daniel Suárez, Dani Bonilla y José Manuel Oruco, will defend In the land of menA work with which the Lámpara Minera will represent Extremadura. It will not do so alone. In the same location, it will take up the mantle Francisco Escudero 'El Perrete' with Guiding Light – Live Set.
They will do so thanks to the Badajoz Provincial CouncilEven though they have demonstrated throughout their careers that, through their talent and dedication, they deserved to be on the bill solely on the basis of their artistry. But this is also the flamenco, and these, its thorns.
"Combining expressive delicacy and profound authority, Esther Merino has the cante Close to the bone. A voice that caresses and wounds at the same time. His cante It is tempered with gentleness and decisiveness without losing elegance or restraint. Orthodoxy and personality from an Extremadura steeped in depth and lacking recognition.
“I’m really looking forward to this unknown festival where we’re going to give it our all. I haven’t been out much lately, I’m eager to travel and to be known at many festivals. I’ll also be in Mont de Marsan For the second time. I'm going with some great friends and musicians, so I'm really looking forward to it.
Re(e)volution This has been Esther Merino's latest work. A review of the last ten years of her career, during which she has evolved both personally and significantly as an artist. Without losing an iota of her quality, this evolution is evident in the timbre of her voice and in the way she approaches the canteIt is another, more mature, conscious, and personal attitude.
“I’ve discovered that I can draw on other records that I was unaware of. Interpreting the canteYes, even the same ones as before, but execute them differently. CanteThere are situations where I couldn't even get an "olé" before, but now I can. I think it's the result of what I've learned from the work I've done with the National Orchestra of Lyon o The love wizard along with Camerata Anam"Also through contemporary shows, which I'm currently collaborating on. They're all important to me because these works are enriching me immensely. Now I sing with more freedom."
I wonder why so many artists who have built their careers on respect for flamenco orthodoxy feel, at a certain point, the need to explore other creative horizons. Where does this feeling of being out of breath come from, this need to open a window, breathe, and explore new languages without abandoning their essence?
“I don’t know, but it’s necessary. It’s also the knowledge you acquire and what you receive, whether from teachers or classmates. With time and those experiences, you grow on a personal level, you get to know your voice better, your canteand you express it in another way.”
Combining expressive delicacy and profound authority, Esther Merino has the cante Close to the bone. A voice that caresses and wounds at the same time. His cante It is tempered with gentleness and decisiveness without losing elegance or restraint. Orthodoxy and personality from an Extremadura steeped in depth and lacking recognition.
“Now I feel like people are watching and studying me more. I’ve always felt a lot of responsibility and pressure that I can’t shake off. I don’t allow myself to fail. It doesn’t matter if I’m a peña flamenca"A big square, a small square, a town, the biggest venue... It doesn't matter, I always feel the pressure of not wanting to fail. People come to see you, and they come to see you enjoy yourself, and I want to give back to them! Now I'm going to do what my heart tells me, because I want to enjoy myself on stage, and that's what I'm doing." ♦
