{"id":13969,"date":"2019-07-15T03:27:15","date_gmt":"2019-07-15T01:27:15","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/?p=13969"},"modified":"2019-07-16T20:23:09","modified_gmt":"2019-07-16T18:23:09","slug":"who-was-jose-lorente","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/bordonazo-new\/who-was-jose-lorente\/","title":{"rendered":"Who was Jos\u00e9 Lorente? (I)"},"content":{"rendered":"

Years ago, I tried to find out who the cantaor<\/em> Jos\u00e9 Lorente<\/strong>\u00a0was. He was from Seville and reportedly created a sole\u00e1 apol\u00e1<\/em> rooted in the Triana style, very flamenca<\/em> and very hard to perform. If he really created this cante<\/em>, he would have been a highly talented cantaor<\/em>. I wasn\u2019t easy to figure out who he was, exactly, because his second (maternal) surname didn\u2019t show up anywhere and the surname Lorente is rather common in 19th<\/sup>-century Seville. I knew he was a renowned cantaor<\/em>, because the newspapers of Seville mentioned him performing with Perea del Puerto, Ram\u00f3n Sartorio, Enrique Prado, Silverio<\/strong>\u00a0and\u00a0Antonio P\u00e9rez<\/strong>, the celebrated guitarist from Seville.<\/p>\n

Lorente mainly sang for baile<\/em> in the academies of Miguel <\/strong>and Manuel de la Barrera<\/strong>, maestros<\/em> boleros<\/em> \u2014 the former from Antequera, in M\u00e1laga, and the latter from Seville \u2014 because in the mid 19th<\/sup> century few cantaores<\/em> gave solo recitals in theaters. He must have been really good, since no other than Silverio Franconetti had Lorente in his company, together with the aforementioned Antonio P\u00e9rez, the bailaor<\/em>\u00a0Antonio P\u00e1ez\u00a0El Pintor\u00a0<\/em><\/strong>and\u00a0El Cuervo Sanluque\u00f1o<\/strong>. Silverio, who was flamenco\u2019s supreme authority at the time, would only allow renowned artists in his company, and that\u2019s the case of Lorente, who in 1865 was already mentioned as such in a newspaper of Seville announcing one of his performances in the celebrated Sal\u00f3n Recreo, on Tarifa Street, which many years later would become the first Caf\u00e9 del Burrero <\/strong>of Manuel Ojeda Rodr\u00edguez:<\/p>\n

El Recreo Dance Hall<\/em><\/strong>. The director Mr. Luis Botella announces to aficionados that on Saturday, December 2nd<\/sup>, the country\u2019s first rehearsals of baile and Andalusian song will take place, with the attendance of the best dancers of this capital and two couples for \u201cbaile de jaleo\u201d, plus the renowned cantaor Jos\u00e9 Lorente, joined by a flamenco guitar player.<\/em><\/p><\/blockquote>\n

Was Lorente a professional cantaor<\/em>? His occupation was shoemaker, just like Chac\u00f3n<\/strong>\u00a0and\u00a0Paco el Sevillano<\/strong>, but I have no doubt that cantaores<\/em> would already have been paid to sing in these halls or academies patronized by generous tourist. From 1865 on, Lorente would often be mentioned in the newspapers of Seville, always performing either at El Recreo or El Oriente, which was located on Trajano street and was directed by the maestro bolero<\/em> from Seville\u00a0Manuel de la Barrera y Valladares<\/strong>. Lorente performed with Sartorio, El Zarcillero, El Quiqui, la Virilo, El Pintor, Isabel Jim\u00e9nez, Carito de Jerez, Juraco<\/strong>\u00a0and\u00a0Enrique Prado<\/strong>, and was almost always the cantaor of La Campanera<\/strong>\u00a0and other Gypsy dancers from Triana\u2019s Cava who were hired to enliven the parties.<\/p>\n

Jos\u00e9 Lorente and Silverio Franconetti<\/strong><\/h3>\n

In 1867 Lorente often performed with his friend Silverio, who had returned from South America and was once again a star of cante<\/em>. At that time, Silverio lived between C\u00e1diz and M\u00e1laga, eventually getting married in the latter city with a lady from Linares, Ana Torrecilla<\/strong>. He was already brainstorming the idea of creating a flamenco company which would tour cities through Spain, particularly in Andalusia, and Lorento, became part of that company. He was from La Feria district, which is not surprising, since that\u2019s the district in Seville from where more flamenco artists were from in the 19th<\/sup> century.<\/p>\n

Silverio often visited that district, as well as San Juan de la Palma (from where El Pintor, father of Lamparilla<\/strong>, was born), San Marcos and San Rom\u00e1n, near Alameda de H\u00e9rcules. Not so much Triana, since the cantaores<\/em> and cantaoras<\/em> of that celebrated district of Seville preferred to perform in private or family parties, instead of on stages. Silverio held Frasco el Colorao, Juan el Pelao, Curro Puya<\/strong>\u00a0and\u00a0Antonio Cagancho<\/strong> in high regard, but he knew they were reluctant to become professional artists. That wasn\u2019t the case of Ram\u00f3n el Ollero<\/strong>, who performed in his caf\u00e9 and that\u2019s why he\u2019s often mentioned as the great cantaor <\/em>from 19th<\/sup>-century Triana.<\/p>\n

After several years of activity in Seville\u2019s caf\u00e9s, Silverio and Lorente performed several nights in C\u00f3rdoba, in 1871, when the master was already an entrepreneur. A C\u00f3rdoba newspaper mentioned him briefly:<\/p>\n

CAF\u00c9 DEL RECREO.<\/em><\/strong>\u00a0The entrepreneur of this establishment has hired the celebrated artists of the Andalusian genre for six performances. <\/em>Cantaores: Silverio Franconetti, Francisco Hidalgo and Jos\u00e9 Lorente. Bailadores: Antonio el Raspador and Antonio el Pintor. Guitarist: the lively Antonio P\u00e9rez.<\/em><\/p><\/blockquote>\n

This happened in May of that year, and it\u2019s noteworthy that Lorente performed with Silverio and Francisco Hidalgo<\/strong>, who was no other than\u00a0Paco el Sevillano<\/strong>. They were both great stars, while Lorente was just a young 25-year-old cantaor<\/em>. Yet, he must have been very good, because Silverio wouldn\u2019t risk damaging his reputation by performing with just anyone. In the same month of the following year, the company performed in that same venue in C\u00f3rdoba, with Silverio as director, and Jos\u00e9 Lorente is mentioned again in the press, now an idol of this city in Andalusia thanks to the trust Mr. Franconetti had put in him.<\/p>\n

Who was Jos\u00e9 Lorente?<\/strong><\/h3>\n

It hasn\u2019t been easy to find out who this great cantaor <\/em>from Seville was, exactly. Despite the data I\u2019ll make public about this artist, I still need more information to be completely certain. Yet, I\u2019ll write about this in another article. Sadly, Fernando el de Triana<\/strong>\u00a0didn\u2019t even mention him, I don\u2019t know if that was because he never heard about him, or because he thought he was unimportant, as happened with many other artists. It\u2019s true that Lorente died when Fernando was just ten years old, in 1877, so he never had the chance to listen to him sing, but he wrote about Tom\u00e1s El Nitri<\/strong>, who died that same year<\/p>\n

[To be continued…]<\/em><\/p>\n

\u00a0Above: an old photograph of La Feria Street in Seville.<\/strong><\/h6>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

This cantaor from Seville created a sole\u00e1 apol\u00e1 rooted in the Triana style, very flamenca and very hard to perform. It wasn\u2019t easy to figure out who he was, exactly, because the surname Lorente was very common in 19th-century Seville.<\/p>\n","protected":false},"author":6,"featured_media":13954,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[256],"tags":[194],"class_list":["post-13969","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bordonazo-new","tag-cantaor-en"],"yoast_head":"\nWho was Jos\u00e9 Lorente? 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