{"id":15218,"date":"2019-09-10T00:52:29","date_gmt":"2019-09-09T22:52:29","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/?p=15218"},"modified":"2019-09-10T01:01:56","modified_gmt":"2019-09-09T23:01:56","slug":"spain-and-her-cantaora","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/bordonazo-new\/spain-and-her-cantaora\/","title":{"rendered":"Spain and her cantaora"},"content":{"rendered":"<p>Considering how flamenco aficionados are such big fans of significant dates in the history of this art, it\u2019s odd that no one seems to have noticed that it\u2019s been 70 years since the premiere of <em><strong>Espa\u00f1a y su cantaora <\/strong><\/em>(\u201cSpain and her <em>cantaora<\/em>\u201d) the last tour and swan song of <strong>Ni\u00f1a de los Peines<\/strong>, which costed her and <strong>Pepe Pinto<\/strong>, her husband and great <em>cantaor<\/em> from Seville, about two hundred thousand pesetas, which was a veritable fortune at the time. That was the cost of that momentous tour with which Pepe wanted to signal Pastora Pav\u00f3n\u2019s retirement with the highest honors, as artists often did at the time, with a final tour all around Spain. This <em>cantaora<\/em> from Seville had already retired in 1941, at the end of her contract with <strong>Concha Piquer<\/strong>\u00a0and her re-enactment of <em>Las calles de C\u00e1diz<\/em>. Yet, both Pastora and Pepe agreed to make a comeback in style and got into a big mess with the production of <em>Espa\u00f1a y su cantaora<\/em>, by the author\u00a0<strong>Molina Mol\u00e9s<\/strong>, with music by <strong>Maestro Naranjo<\/strong>\u00a0and\u00a0<strong>Arturo Pav\u00f3n<\/strong>, nephew of Pastora.<\/p>\n<p>The cast of the company was impressive. On the guitars, <strong>Melchor de Marchena<\/strong>\u00a0and\u00a0<strong>Pepe Guti\u00e9rrez<\/strong>. As dancers, <strong>Mar\u00eda del Carmen del Castillo<\/strong>,\u00a0<strong>Carmen Visuerte, Rosa Espa\u00f1a, Emilia Castillo, Juanita Acevedo<\/strong>,\u00a0<strong>Teresa Heredia<\/strong>, <strong>Jos\u00e9 Amaya, Paco Caro, Juan Montoya<\/strong>\u00a0\u2014 father of Lole Montoya\u2013 and\u00a0<strong>Pepe Lara<\/strong>. As classical dancer, <strong>Esperanza Acosta<\/strong>. As <em>bailaora<\/em>,\u00a0<strong>Maleni Loreto<\/strong>. As singers, <strong>Carmen Florido<\/strong>\u00a0and\u00a0<strong>Pepita Flores<\/strong>. As the first comedy act,\u00a0<strong>Toni Gamar<\/strong>. As first actress, <strong>Teresa Mesa<\/strong>. As generic actor, <strong>Antonio Torres<\/strong>. As director, Jaime Garc\u00eda. As choreographer, <strong>Elo\u00edsa Alb\u00e9niz<\/strong>, mother of the pianist Arturo Pav\u00f3n. And as scenic director, <strong>Manuel Calleja<\/strong>. It\u2019s no wonder that it had a budget of 200,000 pesetas. Further expenses were the luxurious costumes by fashion designer Rosa Aceituno and the lavish scenery set by Li\u00f1\u00e1n. On top of that, of course, there were the publicity and payroll expenditures.<\/p>\n<blockquote><p><em>\u00abIt wasn\u2019t Pepe Pinto who forced her to retire from the stages, but the public, at a time when she was still at the peak of her skills and art. From then on, she only performed in parties or in tributes for other artists, until in 1966 her old-age dementia accelerated the process\u00bb<\/em><\/p><\/blockquote>\n<p>The premiere took place at the <strong>San Fernando Theater<\/strong>\u00a0in Seville on January 19<sup>th<\/sup>, 1949, sponsored by the Press Association, and it was an emphatic success among the public and the critics. A show of such magnitude had never before been attempted, and it promised great financial rewards. Yet, it was a complete failure and sank Pastora as an artist, who witnessed how much the Spanish public had changed and how her <em>cante<\/em> no longer had the same appeal as in the old days. In April of that year, after performing in just a few cities, they decided to end the tour at the <strong>Crisfel Theater<\/strong>\u00a0in Alc\u00e1zar de San Juan, Ciudad Real. \u00abI cried that night\u00bb, said the artist many years later. \u00abI was so mad that the public hadn\u2019t understood my cante\u2026\u00bb.<\/p>\n<p>She blamed the intellectuals for the failure of her tour. \u00abThe intellectuals have been very cruel with flamenco\u00bb, she stated in an interview for <em>Pueblo\u00a0<\/em>en 1961. So, <em>Espa\u00f1a y su cantaora<\/em>, perhaps the best show of her life, meant a definitive retirement from the stages and focusing on her home life, something she had been wishing since 1934, when she said\u00a0 she was tired of performing and was looking forward to take care of her daughter Tolita and her husband, the great Pepe Pinto.<\/p>\n<p>So it wasn\u2019t Pepe Pinto who forced her to retire from the stages, like some flamenco feminists argue, it was the public, at a time when she was still at the peak of her skills and art. From then on, she only performed in parties or in tributes for other artists, until in 1966 her old-age dementia accelerated the process and she was no longer a shadow of her former self, that strong-willed Gypsy woman from San Rom\u00e1n, but rather, as she herself put it, just <em>a little piece of furniture leaning against the wall<\/em>.<\/p>\n<p>&nbsp;<\/p>\n<p style=\"text-align: right;\"><span style=\"font-size: xx-small;\">Translated by P. Young<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>It\u2019s been 70 years since the premiere of &#8220;Espa\u00f1a y su cantaora&#8221; (\u201cSpain and her cantaora\u201d) the last tour and swan song of Ni\u00f1a de los Peines, which costed her and Pepe Pinto about two hundred thousand pesetas. It was a complete failure and sank Pastora as an artist<\/p>\n","protected":false},"author":6,"featured_media":15216,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[256],"tags":[],"class_list":["post-15218","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bordonazo-new"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Spain and her cantaora - Archivo Expoflamenco<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/expoflamenco.com\/archivo\/en\/bordonazo-new\/spain-and-her-cantaora\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Spain and her cantaora - Archivo Expoflamenco\" \/>\n<meta property=\"og:description\" content=\"It\u2019s been 70 years since the premiere of &quot;Espa\u00f1a y su cantaora&quot; (\u201cSpain and her cantaora\u201d) the last tour and swan song of Ni\u00f1a de los Peines, which costed her and Pepe Pinto about two hundred thousand pesetas. It was a complete failure and sank Pastora as an artist\" \/>\n<meta property=\"og:url\" content=\"https:\/\/expoflamenco.com\/archivo\/en\/bordonazo-new\/spain-and-her-cantaora\/\" \/>\n<meta property=\"og:site_name\" content=\"Archivo Expoflamenco\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/ExpoFlamenco\" \/>\n<meta property=\"article:published_time\" content=\"2019-09-09T22:52:29+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2019-09-09T23:01:56+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/expoflamenco.com\/archivo\/wp-content\/uploads\/2019\/09\/expoflamenco-nina-peines-espana-y-su-cantaora.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1300\" \/>\n\t<meta property=\"og:image:height\" content=\"800\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Manuel Boh\u00f3rquez\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@expoflamenco1\" \/>\n<meta name=\"twitter:site\" content=\"@expoflamenco1\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Manuel Boh\u00f3rquez\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/en\\\/bordonazo-new\\\/spain-and-her-cantaora\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/en\\\/bordonazo-new\\\/spain-and-her-cantaora\\\/\"},\"author\":{\"name\":\"Manuel Boh\u00f3rquez\",\"@id\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/#\\\/schema\\\/person\\\/608d65b2c159f7b5b632f1365c15030f\"},\"headline\":\"Spain and her cantaora\",\"datePublished\":\"2019-09-09T22:52:29+00:00\",\"dateModified\":\"2019-09-09T23:01:56+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/en\\\/bordonazo-new\\\/spain-and-her-cantaora\\\/\"},\"wordCount\":717,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/en\\\/bordonazo-new\\\/spain-and-her-cantaora\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/wp-content\\\/uploads\\\/2019\\\/09\\\/expoflamenco-nina-peines-espana-y-su-cantaora.jpg\",\"articleSection\":[\"Bordonazo NEW\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/en\\\/bordonazo-new\\\/spain-and-her-cantaora\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/en\\\/bordonazo-new\\\/spain-and-her-cantaora\\\/\",\"url\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/en\\\/bordonazo-new\\\/spain-and-her-cantaora\\\/\",\"name\":\"Spain and her cantaora - 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