The recent history of the flamenco cannot be understood without the figure of Juan LebrónAlthough his name often remained discreetly in the background, the Antequera-born producer was one of the main figures responsible for the art jondo He found in audiovisual language a privileged way to reach the entire planet, in the right place and at the right time. Now, having left us in Seville at the age of 73, he leaves behind a legacy that transcends cinema to merge with an entire musical culture.
Long before the Andalusian audiovisual industry achieved the strength it enjoys today, LeBron understood that the flamenco It deserved a production worthy of its artistic and heritage significance.With uncommon intuition and an extraordinary ability to carry out large-scale projects, he turned into reality works that today form part of the contemporary iconography of the genre.
His career began in the early seventies as a photographer in London. He then worked at Cifra Gráfica and Cosmo Press before gaining experience as a television cameraman at TVE, where he participated in such emblematic productions as The man and the earth, Felix Rodriguez de la Fuente, Blue verano, Antonio MerceroHowever, the real turning point came during his five-year stay in the United States, where he broadened his training and acquired a much more modern vision of audiovisual production.
Upon his return to Spain, he continued working as a cameraman on documentaries such as The art of livingDirected by Luis Calvo Teixeira, and Other towns, Luis Pancorbo...until making the definitive leap into production. Having settled in Seville on the eve of the 1992 Universal Exposition, he promoted numerous institutional and television projects, but it was precisely that year when he would begin the period that would make him an essential figure in the dissemination of... flamenco.
The alliance with Carlos Saura resulted sevillanas, released in 1992. A work that revolutionized the way dance was filmed, the cante and flamenco music. More than a documentary, the film brought together some of the biggest names of the time in a visually stunning production that introduced the genre to audiences who had previously had little exposure to it. The image of a Camarón de la Isla Close to death, almost a testament in images, were indelibly etched in the memory of the fans.
"The passing of Juan Lebrón leaves a void in Andalusian audiovisual production, but also in the history of..." cante...the dance and the playing. Because behind many of the images that today form part of the collective imagination of this art was the vision of a producer who knew how to recognize its value and project it beyond any border."
The success was immediate. sevillanas It won the Rose d'Or and the Silver Rose at the Montreux Film Festival, was a finalist for the Emmy Awards, and became the best-selling video in the history of Spanish cinema up to that point, with more than 387.000 copies in VHS format, figures that speak of a cultural phenomenon that far exceeded the limits of the circuit. flamenco.
Si sevillanas opened a breach, Flamenco She finished opening the door wide. Premiered in 1995 at the Venice Film Festival and photographed by Victor StoraroThe film, winner of three Oscars, elevated the flamenco to a visual level rarely achieved in cinema. The Lebrón-Saura duo once again demonstrated that it was possible to combine artistic ambition, technical excellence, and the ability to connect with audiences from very different cultures, in addition to assembling an impressive cast with La Paquera, Farruco, Chocolate, Enrique Morente, Manuela Carrasco, Merche Esmeralda, Manuel Agujetas, Paco de Lucía or Manolo Sanlúcar, among other stars.
Both productions toured the main international festivals—Cannes, Venice, New York, Montreal, London, Toronto, San Sebastián, and Berlin, among many others—and contributed decisively to consolidating an image of flamenco as one of the great universal cultural expressions born in Andalusia. Much of the international acclaim that this art enjoys today found an exceptional showcase in those films.
Although he later developed other projects of notable impact, such as Andalusia is like something out of a movie, always remained closely linked to flamencoHis commitment to expanding that legacy was evident until the very end: despite his illness, he was working on a third installment of the cinematic universe of Flamenco alongside Carlos Saura, this time with New York as the setting.
In addition to the institutional recognition he received throughout his career, Juan Lebrón leaves behind a contribution difficult to measure solely in awards. His passing leaves a void in Andalusian audiovisual production, but also in the history of [the industry]. canteThe dance and the playing. Because behind many of the images that today form part of the collective imagination of this art was the vision of a producer who knew how to recognize its value and project it beyond any border. ♦
