On Thursday the 2^nd of December, the Sevillana singer Esperanza Fernández presented the latest addition to her discography, Se prohíbe el cante (Air Music Group), in the headquarters of the Andalusian Institute of Flamenco. The event was attended by the the Institute’s director, Cristóbal Ortega, journalist María José Andrade, guitarist and head of Air Music record label, Alberto López, and guitarist and producer Miguel Ángel Cortés. Even Curro Fernández, the singer’s father, wanted to publicly thank his daughter for featuring his vocals on the album, despite his retirement from the stage over ten years ago. These moments can be seen in the video below.

Esperanza Fernández, who is heiress to a famous dynasty of jondo art, is often noted for her versatility, having participated in such varied musical projects: from flamenco duos to jazz, big band and even chamber and symphony orchestras. She has performed pieces like La Vida Breve, El Amor Brujo, Siete Canciones Españolas and a reworked version of the opera Margot by Joaquín Turina. She has performed all over the world – New York, Paris, Brussels, Jerusalem, Lisbon, Rome, Brazil, Cologne – including the Russian capital, where she told us that she had sung to a packed theatre at the end of November.

The first single of the disc Se prohíbe el cante is a set of tangos which Miguel Poveda collaborated on and are reminiscent of the Malagueña Repompa and la Niña de los Peines. It is a tribute to two great female references in the world of flamenco and to their popular lyrics. Other collaborating artists on Esperanza’s album are Tomatito, Marina Heredia, Rocío Márquez and Arcángel. The title makes reference to a sad poster which could be seen in many Andalusian bars throughout much of the 20^th century. You can listen to some clips on the podcast which our colleague José María Castaño recently on this very website.

In the album sleeve, writer Juan José Téllez reflects that “her discography has been measured and cooked on a low flame, with the patience of one who braids a wicker basket or taps their hammer on the anvil. She is well aware that singing is not just a profession or vocation, but also a responsibility to those who sang or were not allowed to sing before her”.

“In the gospel of Esperanza Fernández,” continues Téllez “singing also means teaching those who come after you and being grateful for the example of those that came before you. Now Esperanza, once more, is producing legendary work. So take a seat, try the wine but don’t make a noise with the glasses. And let’s listen”.

Se prohíbe el cante has also been reflected in an audiovisual production on show at Seville’s Cinema Festival. A journey through Andalusia with the purpose of recovering the memory of flamenco peñas. On this route, Esperanza visits some of Andalusia’s most emblematic peñas accompanied by first rate figures, such as José de la Tomasa, Arcángel, Miguel Poveda, Fosforito, Tomatito, Marina Heredia, Jesús Méndez and José Valencia.

Translation: Lauren Bleakley