{"id":18275,"date":"2020-02-25T15:32:28","date_gmt":"2020-02-25T14:32:28","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/?p=18275"},"modified":"2020-02-26T18:50:48","modified_gmt":"2020-02-26T17:50:48","slug":"grandpa-talks-about-saetas-and-saeteros","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/bordonazo-new\/grandpa-talks-about-saetas-and-saeteros\/","title":{"rendered":"Grandpa talks about saetas and saeteros"},"content":{"rendered":"<p><strong>-Granpda, I don\u2019t think we\u2019ve ever talked about saetas and saeteros. Don\u2019t you like saetas? <\/strong><\/p>\n<p>-I love saetas, and I think I was lucky to have lived through their golden age, which I reckon was the early 1900s. Your great-grandfather, that is, my dad, used to talk a lot about those geniuses of the XIX century, and how saetas were sang by Tom\u00e1s el Nitri, los Marrurros de Jerez, Salvaorillo, Frijones and Silverio.<\/p>\n<p><strong>-In those days saetas weren\u2019t \u201cflamenco\u201d yet, right? <\/strong><\/p>\n<p>-Of course they were! They were flamencas because the artists who sang them were flamencos themselves. I cannot imagine El Nitri singing the so-called <em>saetas llanas<\/em>\u00a0that were sung by the Fransciscan friars from Marchena or Cabra. He would have only sung <em>saetas jondas<\/em>. The thing is that they never recorded them, so we\u2019ll never know for sure, but I bet they were superb. Look, when Manuel Torres arrived in Seville, at the turn of the century, he brought with him that kind of <em>saeta<\/em>, which prevailed in Seville soon after. He came to Seville when he was 20, and he would have heard in Jerez and C\u00e1diz many gypsies who sang <em>saetas<\/em> with a gypsy flavor, such as Paco la Luz or his own uncle, the great <em>cantaor<\/em> Joaqu\u00edn Lacherna, the brother of Manuel\u2019s mother, Tomasa.<\/p>\n<p><strong>-Was Manuel Torres the best <em>saetero<\/em> of them all? <\/strong><\/p>\n<p>-Without a doubt, Manolito. At the time, the folkloric saetas from the convents was what people sang in Seville. Manuel and Rafael el Gloria (also from Jerez), revolutionized the <em>saeta<\/em> and popularized the typical <em>flamenco<\/em> way of singing them. After them came Pastora Pav\u00f3n and Isabelita de Jerez, the best female singers of this <em>palo<\/em>. Another great saetera was La Finito de Triana, who actually wasn\u2019t from Triana, nor grew up there, although some people say so.<\/p>\n<p><strong>-What about Centeno and Vallejo?<\/strong><\/p>\n<p>-Those two <em>cantaores<\/em> from Seville turned the saeta into a top show, because they were spectacular, particularly Vallejo, although they didn\u2019t have the <em>jondo<\/em> feel of Manuel and El Gloria. The type of voice doesn\u2019t define the quality of cante. Knowledge does. Yet, different types of voice create different type of emotions, and because of this I prefer El Majareta and El Gloria, of course. Paco Mazaco was another genius of the saeta, too.<\/p>\n<p><strong>-No one ever talks about Pepe Valencia, saetero from Seville. I\u2019ve heard three saetas by him and I think he was amazing. <\/strong><\/p>\n<p>-Pepito Valencia was what we call a balconist, a specialist. When he sang on Cuna street, which he did every year, all other streets in the city center would be empty. He only specialized in saetas, but on that he was the king, due to his mastery of his self-assured voice.<\/p>\n<p><strong>-How good was Ni\u00f1a de la Alfalfa?<\/strong><\/p>\n<p>-Roc\u00edo Vega Farf\u00e1n (her real name) was an opera singer, she wasn\u2019t <em>flamenca<\/em>. Yet, she became the queen of the balconies in old-town Seville. She would sing in La Alfalfa and people could hear her in Triana because, being well versed in opera techniques, she knew how to project her voice. That\u2019s why she was famous.<\/p>\n<p><strong>-We shouldn\u2019t even get started with Tom\u00e1s, right grandpa?<\/strong><\/p>\n<p>-We shouldn\u2019t, otherwise we\u2019ll never end. I once heard him sing in San Rom\u00e1n, and his saeta is still deep inside me.<\/p>\n<p><strong>-What about the most recent ones? <\/strong><strong>Caracol, Mairena, el Pinto\u2026<\/strong><\/p>\n<p>-El Pinto was too sweet for my liking, and saetas are all about bitterness and sorrow, but he was a great <em>cantaor<\/em> and a good saetero. \u00a0Caracol was a genius, he would lose his mind singing saetas, and the gypsies would rip their shirts off when he sang in San Rom\u00e1n. Mairena, who sang in the style of Torres and El Gloria, was also spectacular. Almost by chance, he started singing in the Holy Week of Seville, before the War, and he became renowned for his saetas.<\/p>\n<p><strong>-Do you have any funny stories about saetas in Seville?<\/strong><\/p>\n<p>-Yes, I have a good one. There was this little guy in Seville, who was sort of a clown of every party, being the butt of many jokes and pranks. One night he insisted singing a saeta to the Virgin of the Macarena (whose image was being brought in a procession on Campana street) from the sidewalk outside Bar Pinto. Due to his short stature, Beni de C\u00e1diz lifted him up on a barrel that was on the sidewalk. As the procession with the image of the Virgin neared, the little guy started singing from the top of the barrel. Beni slowly rotated the barrel and, since the little man used to sing with his eyes closed, he ended up singing his saeta to a shelf in a hat shop which was besides Bar Pinto.<\/p>\n<p><strong>-That was so mean, grandpa.<\/strong><\/p>\n<p>-Quite a prankster, that Beni.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Manuel and Rafael el Gloria (also from Jerez), revolutionized the saeta and popularized the typical flamenco way of singing them. After them came Pastora Pav\u00f3n and Isabelita de Jerez, the best female singers of this palo.<\/p>\n","protected":false},"author":6,"featured_media":18273,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[256],"tags":[],"class_list":["post-18275","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>Grandpa talks about saetas and saeteros - 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\/grandpa-talks-about-saetas-and-saeteros\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Grandpa talks about saetas and saeteros - Archivo Expoflamenco\" \/>\n<meta property=\"og:description\" content=\"Manuel and Rafael el Gloria (also from Jerez), revolutionized the saeta and popularized the typical flamenco way of singing them. 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