{"id":5752,"date":"2016-05-18T17:13:55","date_gmt":"2016-05-18T17:13:55","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/uncategorized\/un-cantaor-de-cantaores\/"},"modified":"2019-05-26T19:59:37","modified_gmt":"2019-05-26T17:59:37","slug":"cantaor-of-cantaores","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/blog-archivo\/cantaor-of-cantaores\/","title":{"rendered":"Cantaor of cantaores"},"content":{"rendered":"<p>There are\u00a0<i>cantaores<\/i>\u00a0and\u00a0<i>cantaoras<\/i>\u00a0who are admired by other artists of\u00a0<i>cante<\/i>, regardless of their popularity among the general public.\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!El-abuelo-recuerda-a-Tom%C3%A1s-Pav%C3%B3n\/c112t\/56ef66b60cf276e9de24fb4d\">Tom\u00e1s Pav\u00f3n<\/a>\u00a0and\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Juanito-Mojama-%C2%BFredescubriendo-a-un-genio\/c112t\/5600abed0cf25fa7fe12dd39\">Juan Mojama<\/a>\u00a0are two good examples of this, although there were and there are many more. Nowadays they\u2019re called \u201c<i>cantaores<\/i>\u00a0of reference\u201d. Today in our blog\u00a0<i>El Bordonazo<\/i>, we bring up Antonio Tovar R\u00edos, known by his stage names\u00a0<i>El Ni\u00f1o de la Calz\u00e1<\/i>\u00a0or\u00a0<em><a href=\"http:\/\/www.expoflamenco.net\/#!Antonio-el-de-la-Calz%C3%A1\/c112t\/573ba46b0cf2326e66447074\">Antonio el de la Calz\u00e1<\/a><\/em>. He was born in Seville, in the La Calz\u00e1 neighborhood, and became a favourite of\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Cuarenta-y-seis-a%C3%B1os-sin-Pastora\/c112t\/565548780cf2a1cf6d1811d5\">Pastora Pav\u00f3n<\/a>\u00a0and her brother Tom\u00e1s, among other geniuses of that time.<\/p>\n<p>Born in 1913, Antonio was a child prodigy of\u00a0<i>cante<\/i>, a precocious\u00a0<i>cantaor<\/i>\u00a0with the gifts of communication and wit. I first met him when he was 70 years old, at the now-extinct\u00a0<i>Pe\u00f1a Flamenca El Manantial<\/i>\u00a0at the Los Carteros neighborhood in Seville, where I was introduced to him by the amateur\u00a0<i>cantaor<\/i>\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!El-Pichichi-se-llev%C3%B3-su-fandango\/c112t\/565bb8d10cf296b209028eae\">Antonio el Pichichi<\/a>. I tried to shake his hand, but the master said no, not a handshake, but rather a hug. I had heard so much of him, of his greatness and also of his humbleness, that his hug was one of the greatest things I had experienced as a flamenco aficionado until then.<\/p>\n<p>That same night Antonio told me about his admiration for Tom\u00e1s, Pastora,\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Recordando-a-El-Carbonerillo\/c112t\/56b81aa40cf2dc1600e907a6\">El Carbonerillo<\/a>\u00a0and\u00a0<a href=\"https:\/\/www.expoflamenco.com\/archivo\/blog-archivo\/aquel-genial-nino-de-torres\">Manuel Torres<\/a>, and also his admiration for living artists such as\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!El-a%C3%B1o-de-Juan-Valderrama\/c112t\/560dd5620cf2a7bb74c22e90\">Valderrama<\/a>\u00a0and\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Camar%C3%B3n-de-la-Isla\/c112t\/5670af830cf2fb0fe5aff7eb\">Camar\u00f3n<\/a>. The genius\u00a0<i>de la Isla<\/i>\u00a0was always a follower of his style and masterfully recreated his\u00a0<i>fandangos<\/i>, particularly the style he created after the 1936 Spanish Civil War when, as his voice started failing, he turned the\u00a0<i>fandango<\/i>\u00a0around, with the invaluable help of the Sevillan guitarist\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Ni%C3%B1o-Ricardo\/c112t\/569584120cf2e099256bbfdd\">Ni\u00f1o Ricardo<\/a>, creator of some mechanisms that revolutionized guitar playing for accompaniment.<\/p>\n<p>In the last tracks he recorded with\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Sabicas-Recital-de-Guitarra-Flamenca\/c112t\/55f748230cf24af6ea3c1d07\">Sabicas<\/a>\u00a0(Gram\u00f3fono, 1936) and Ricardo (Columbia, 1943) we can see that spectacular change which set the foundation for a new way to perform the\u00a0<i>fandangos naturales<\/i>, lacking the characteristic pre-war gloss, but having a greater depth and feel, more \u201c<i>jondura y pellizco<\/i>\u201d. I talked with Antonio that night about this change and he told me \u201csometimes, loosing our abilities forces us to reinvent ourselves\u201d. Antonio influenced not only Camar\u00f3n, but also\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Pansequito-y-Ni%C3%B1o-de-Pura\/c112t\/573bb4c20cf20a8824ddf228\">Pansequito<\/a>,\u00a0<a href=\"https:\/\/www.expoflamenco.com\/archivo\/blog-archivo\/rancapino-o-una-una-declaracion-de-amor\">Rancapino<\/a>\u00a0and\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!La-nueva-ilusi%C3%B3n-de-Chiquetete\/c112t\/564558210cf21009be84d126\">Chiquitete<\/a>, among others. In his old age, Antonio was very proud that young singers would follow his very personal style of\u00a0<i>cante<\/i>.<\/p>\n<p>Yet,\u00a0<i>el de la Calz\u00e1<\/i>\u00a0wasn\u2019t just a\u00a0<i>fandanguero<\/i>, but he was also able to sing\u00a0<i>malague\u00f1as, tarantas<\/i>\u00a0and\u00a0<i>buler\u00edas<\/i>with great skill. When the Spanish Civil War started he was already a big star, having had great success at the time of the\u00a0<i>\u00d3pera Flamenca<\/i>\u00a0with\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Aquel-jilguero-de-Marchena\/c112t\/5661105c0cf25333685e0a03\">Marchena<\/a>,\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Jos%C3%A9-Cepero\/c112t\/573bb29e0cf24fd7fcd71be5\">Cepero<\/a>,\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Cincuenta-y-seis-a%C3%B1os-sin-Vallejo\/c112t\/57a7f29a0cf2fdb0f74c5fa8\">Vallejo<\/a>,\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Canalejas-de-Puerto-Real\/c112t\/5735579f0cf284cf21414fd6\">Canalejas<\/a>,\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Sevilla-se-olvid%C3%B3-de-Pepe-Pinto\/c112t\/56a8644c0cf2296307164596\">Pepe Pinto<\/a>\u00a0and Pastora. At the time of the military coup that started the Spanish Civil War, he was in Ja\u00e9n with the company of Pepe Pinto and Ni\u00f1a de los Peines, but instead of moving to Madrid like Pastora and Pepe did, he stayed put in Ja\u00e9n, because he knew right there that Seville was one of the cities most severely punished by the fascist coup, where blood flowed on the streets like rivers.<\/p>\n<p>Certainly, all the distress he endured in Ja\u00e9n, unable to return to Seville, affected his singing style, changing it, and he continued to have great success in the company of Manuel Vallejo and also in the company of Pepe Pinto. However, he almost lost his voice, which no longer had commercial appeal, forcing him to leave the stages, unable to compete with other artists, and he spent his last days running a concession stand and singing in the odd party. Such was the end of one of the best\u00a0<i>cantaores<\/i>\u00a0of Seville, creator of a unique, personal style that today is followed by young artists such as\u00a0<a href=\"http:\/\/www.expoflamenco.net\/#!Rancapino-Chico-y-Paco-Cepero\/c112t\/55f77d1d0cf2db6dcfb5da89\">Rancapino hijo<\/a>, to name just one example. Antonio Tovar R\u00edos, the great Ni\u00f1o de la Calz\u00e1, passed away in 1981.<\/p>\n<p><span style=\"font-size: xx-small;\">Translated by P. Young<\/span><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Today in our blog El Bordonazo, we bring up Antonio Tovar R\u00edos, known by his stage names El Ni\u00f1o de la Calz\u00e1 or Antonio el de la Calz\u00e1. He was born in Seville, in the La Calz\u00e1 neighborhood, and became a favourite of Pastora Pav\u00f3n and her brother Tom\u00e1s<\/p>\n","protected":false},"author":6,"featured_media":12549,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[66],"tags":[],"class_list":["post-5752","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog-archivo"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Cantaor of cantaores - 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\/blog-archivo\/cantaor-of-cantaores\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Cantaor of cantaores - Archivo Expoflamenco\" \/>\n<meta property=\"og:description\" content=\"Today in our blog El Bordonazo, we bring up Antonio Tovar R\u00edos, known by his stage names El Ni\u00f1o de la Calz\u00e1 or Antonio el de la Calz\u00e1. He was born in Seville, in the La Calz\u00e1 neighborhood, and became a favourite of Pastora Pav\u00f3n and her brother Tom\u00e1s\" \/>\n<meta property=\"og:url\" content=\"https:\/\/expoflamenco.com\/archivo\/en\/blog-archivo\/cantaor-of-cantaores\/\" \/>\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=\"2016-05-18T17:13:55+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2019-05-26T17:59:37+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/expoflamenco.com\/archivo\/wp-content\/uploads\/2016\/05\/20160518_un-cantaor-de-cantaores.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1300\" \/>\n\t<meta property=\"og:image:height\" content=\"801\" \/>\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=\"3 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/en\\\/blog-archivo\\\/cantaor-of-cantaores\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/en\\\/blog-archivo\\\/cantaor-of-cantaores\\\/\"},\"author\":{\"name\":\"Manuel Boh\u00f3rquez\",\"@id\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/#\\\/schema\\\/person\\\/608d65b2c159f7b5b632f1365c15030f\"},\"headline\":\"Cantaor of cantaores\",\"datePublished\":\"2016-05-18T17:13:55+00:00\",\"dateModified\":\"2019-05-26T17:59:37+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/en\\\/blog-archivo\\\/cantaor-of-cantaores\\\/\"},\"wordCount\":676,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/en\\\/blog-archivo\\\/cantaor-of-cantaores\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/wp-content\\\/uploads\\\/2016\\\/05\\\/20160518_un-cantaor-de-cantaores.jpg\",\"articleSection\":[\"Blog El Bordonazo\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/en\\\/blog-archivo\\\/cantaor-of-cantaores\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/en\\\/blog-archivo\\\/cantaor-of-cantaores\\\/\",\"url\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/en\\\/blog-archivo\\\/cantaor-of-cantaores\\\/\",\"name\":\"Cantaor of cantaores - 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Cr\u00edtico de flamenco, periodista y escritor. 40 a\u00f1os de investigaci\u00f3n flamenca en El Correo de Andaluc\u00eda. Autor de biograf\u00edas de la Ni\u00f1a de los Peines, Carbonerillo, Manuel Escacena, Tom\u00e1s Pav\u00f3n, Fernando el de Triana, Manuel Gerena, Canario de \u00c1lora...\",\"sameAs\":[\"http:\\\/\\\/www.manuelbohorquez.com\"],\"url\":\"https:\\\/\\\/expoflamenco.com\\\/archivo\\\/en\\\/author\\\/manuelbohorquez\\\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Cantaor of cantaores - Archivo Expoflamenco","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/expoflamenco.com\/archivo\/en\/blog-archivo\/cantaor-of-cantaores\/","og_locale":"en_US","og_type":"article","og_title":"Cantaor of cantaores - Archivo Expoflamenco","og_description":"Today in our blog El Bordonazo, we bring up Antonio Tovar R\u00edos, known by his stage names El Ni\u00f1o de la Calz\u00e1 or Antonio el de la Calz\u00e1. 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