{"id":7833,"date":"2018-05-17T18:05:42","date_gmt":"2018-05-17T18:05:42","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/uncategorized\/ezequiel-benitez-y-adela-campallo-juntos-pero-no-revueltos\/"},"modified":"2019-03-01T22:08:43","modified_gmt":"2019-03-01T21:08:43","slug":"ezequiel-benitez-and-adela-campallo-together-but-not-mixed","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/chronicles\/ezequiel-benitez-and-adela-campallo-together-but-not-mixed\/","title":{"rendered":"Ezequiel Ben\u00edtez and Adela Campallo, together but not mixed"},"content":{"rendered":"
\n

By Luis M. P\u00e9rez. Seville, May 17, 2018 <\/em><\/span><\/p>\n

At first, it was hard to understand why these two artists didn\u2019t deserve having one evening all for themselves at Seville\u2019s Teatro Central<\/i>. Ezequiel has already released two albums, more than enough material for the sixty-five minutes that the recitals of the series Flamenco Viene del Sur<\/i> usually take. Adela needs no introduction, having already produced numerous shows. After we left the theater, it\u2019s not that it was hard to understand, it was completely beyond comprehension, no matter how we looked at it. It wasn\u2019t a matter of the quality of the artists, but rather that each of their publics are interested in different things, because their artistic concepts are completely opposed, although they\u2019re both totally valid. So I guess there was one evening and two artists left. Who is in charge of this programming?<\/p>\n

Ezequiel Ben\u00edtez Dom\u00ednguez<\/b> was born in Jerez de la Frontera in 1979, in the famous Santiago district to be precise, in a family which was closely linked to flamenco. Ezequiel has keenly studied cantes<\/i> and flamenco history, and has created magnificent musical nuances, lyrics and even his own fandangos. The death of his brother, who always accompanied him on palmas<\/i>, was a turning point in his life, and after living a few years in C\u00e1diz, where he immersed himself in the world of its comparsa carnavalera<\/i>, he came back to Jerez to become a leading flamenco artist.<\/p>\n

Ezequiel wasn\u2019t at his best on Tuesday evening, as anyone who regularly attends his performances could attest. Perhaps because this is the traditional month of alegr\u00edas<\/i>, he started rather nervous por alegr\u00edas de Aurelio Sell\u00e9<\/i>, precisely one of the palos<\/i> where this cantaor<\/i> of Jerez usually excels. Fortunately he got himself together singing soleares de Jerez<\/i>, those sung by Mar\u00eda Bala in the farmhouses when she was young, although without embellishments like he usually does. Then he soared to heaven chasing Mar\u00eda Magdalena<\/i>, those cupl\u00e9s por buler\u00edas<\/i> that the genius from Seville, Manuel Vallejo, recorded around 1935. The palmas<\/i> of Manuel Cantarote<\/b> and Juan Diego Valencia<\/b> sounded glorious, both here and also in the buler\u00edas gitanas<\/i> that Ezequiel gave out to the public like Gypsy bouquets, finally self-assured and communicating the gallantry of El Chozas de Jerez and La Bolola, interspersing his outstanding fandangos por buler\u00edas<\/i>. When Ezequiel seeks within his heart, he finds sorrowful moments, and he left us in tears in a corner, with the guitar of Paco Le\u00f3n (from Puerto de Santa Mar\u00eda) scratching the seguiriyas<\/i> in memory of his brother.<\/p>\n

After a little break just long enough for a pit stop, the curtain was raised yet again, giving us the frightful sight of black flamenco with white polka dots on the floor. Frightful due to its overuse, and because it\u2019s a sign that the baile<\/i> performance will be impregnated with contemporary dance. While the musicians remain motionless in each of their circles of light, a bailaora<\/i> typically appears dragging her feet, with an upset face and empty stare, as if defying the audience to guess where this is all going. The cantaores<\/i> Jes\u00fas Corbacho<\/b> and El Londro<\/b> reminds us that this is about flamenco, with their leading voices sacrificed to provide background music, together with the inevitable Indian sitar and the emphatic all-encompassing percussion.<\/p>\n

After all, baile<\/i> flamenco did happen: seguiriyas, cabales, romances<\/i> and corridos<\/i>, where Adela Campallo<\/b>, bailaora<\/i> from Seville, deployed all of her contemporary dance techniques, with plenty of footwork but not so much handwork, dazing the public with her fierce eyes and the fluidity of her movements. Although some of us, leaving the theater and seeking the fresh breeze from the Guadalquivir river, didn\u2019t quite understand the point of the show.<\/p>\n

 <\/p>\n

Event notes:<\/i><\/p>\n

Show:<\/b> Ezequiel Ben\u00edtez \/ Adela Campallo
\nSeries:<\/b> Flamenco viene del Sur
\nPlace and date:<\/b> Teatro Central de Sevilla. May 15, 2018<\/p>\n

First part: Ezequiel Ben\u00edtez Recital<\/b>
\nCante:<\/b> Ezequiel Ben\u00edtez
\nGuitar:<\/b> Paco Le\u00f3n
\nPalmas<\/i>:<\/b> Manuel Cantarote and Juan Diego Valencia<\/p>\n

Second part: Adela Campallo\u2019s performance<\/b>
\nBaile<\/i>:<\/b> Adela Campallo
\nCante:<\/b> Jes\u00fas Corbacho and Miguel Soto El Londro<\/i>
\nGuitarrs:<\/b> Juan Campallo and David Vargas
\nPercussion:<\/b> Paco Vega<\/p><\/blockquote>\n<\/div>\n

 <\/p>\n

\"\"<\/p>\n

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

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