27 Generación Flamenca
Viernes 29, 19:30h
Escenario Flamenco On Fire
Juan Carmona – Musical director and guitarist
Soleá Morente – Singer
Almaría – Singer
Saúl Quirós – Singer
Carlos Carmona – Second guitar
Juan Carmona Jr. – Percussionist
Gito Maletá – Piano
Iván Ruiz Machado – Contrabass
Dani Reus – Chorus
Astrid Jones – Chorus
There are many references linking the artists from the Generation of ‘27 to music, many of them linking Spanish intellectuals of the time to Flamenco. For instance, writer Antonio Machado y Álvarez, aka Demófilo, stated the following about the copla flamenca on his ‘Collection of flamenco songs’: “It shows, in all its pureness, the deepest emotions of the heart as well as the clearest and relentless ideas of the spirit”.
Manuel de Falla wrote with passion: “The harmonic effects unconsciously created by our guitarists are one of the wonders of the natural art”. He was thrilled by the art of José Patiño González, known as El Maestro Patiño. That’s why he organized, together with Lorca, the most popular contest in the history of this music genre.
Furthermore, Lorca made the famous cantaora ‘La Parrala’ the main character of one of his poems, Café Cantante (The Singing Café), included in his book Poema del Cante Jondo: “La Parrala holds has a conversation with death”. On the same book he included or dedicated verses, or complete poems to other singers such as Juan Breva, Manuel Torres or Silverio Franconetti.
Dancer Pastora Imperio was the inspiration for El Amor Brujo by Falla. The bailaora herself danced on the premier on the Teatro Lara in Madrid in 1925, playing the role of Candelas. Later, in 1934 she participated on the revival, this time dancing the role of the other female character, Lucía, alongside La Argentina and Vicente Escudero.
The bailaora La Argentinita was the muse of the Generation of ’27. With Federico García Lorca on the piano, they both recorded old popular songs such as Zorongo gitano, Anda jaleo, El Café de Chinitas, La Nana de Sevilla, Los Pelegrinitos…The dancer undertook her own version of El amor Brujo adding to it a second part called Las Calles de Cádiz, which premiered in 1933.