Miguel Poveda puts the back in place flamenco at the level it deserves: that of a sophisticated and sophisticated art. This was demonstrated last Thursday, October 30th, at the Cartuja Center from Seville, where he brought his masterful tour to a close Poem of the Cante JondoThere we were, and once again we were moved by a sonic monument that links flamenco music with the eternal figure of Federico Garcia Lorca through his celebrated poetic work, which the singer has performed in theaters throughout Spain for the past two years.
These lines No. They are not intended as a critique of the usual practices, but rather as an assessment of the relevance of this Catalan artist in dignifying the flamencoWe already pointed this out a little over a year ago. a first reflection on the matter, which we are resuming today to expand it with renewed conviction.
In a world where public subsidies run rampant due to the manipulation of elected officials, where falsifying attendance figures to meet quotas is commonplace, and where organizational shortcomings are the norm, a man appears at the box office and, before three thousand people, manages to deliver a performance for over two hours, accompanied by a moving and respectful silence. cante flamenco Of the highest caliber. A perfectly crafted spectacle from beginning to end, in which Miguel once again reaffirms his undeniable talent as a flamenco singer, his exquisite taste for aesthetics—both musical and literary—and his impressive stage presence. All of this is enhanced by an extraordinary group of musicians who, through the guitar, palmasPercussion, choruses, and shouts of encouragement infuse the flamenco singing with undeniable musical quality. And as if that weren't enough, Miguel complements the music with a charming and spontaneous eloquence in which No. lack of nothing: References to his childhood, family, and life story further connect with an absolutely devoted audience.
"Poveda takes to the stage with the utmost responsibility and (self-)demand, aware of the enormous artistic heritage he safeguards, going straight to the point: to move the audience. And he certainly succeeds. Moreover, he does so with the complete freedom afforded by an artistic career spanning more than three decades, an exhaustive knowledge of music, and a very sharp mind."
How happy I am to know that Miguel has been dignifying the last two years flamenco For our Spains. An art still sorely in need in the land that saw it born of a profound revision that will allow it to banish once and for all tired clichés, undesirable actions, and self-serving interference. Honestly, what I like most about it is its character. From an unquestionable and sacred respect for the flamenco And his professional vision shows that he couldn't care less about the trivial and superfluous, the kind of thing we aficionados tend to fill rivers of ink with on social media, believing ourselves to be the most faithful guardians of flamenco culture. Poveda takes to the stage with the utmost responsibility and (self-)demand, aware of the enormous artistic heritage he safeguards, getting straight to the point: to move the audience. And he certainly succeeds. Moreover, he does so with the complete freedom afforded by an artistic career spanning more than three decades—no small feat—an exhaustive knowledge of music, and a very sharp mind.
That is to dignify it jondoTo elevate it without asking permission… and get the audience to confirm it with a standing ovation. Someone who can move three thousand people with a soleá or a seguiriya in the 21st century doesn't need to prove anything to anyone. That only happens when there is truth, experience, and knowledge. And Miguel Poveda has all three in abundance.
regards flamencos.
