I am one of those who think that art flamenco The flamenco singer emerged primarily in the stage, whether in a tavern, a café, a singer-songwriter or a theatre. In addition to being a musician, the singer is, in a certain way, an actor, since he must handle the basic elements of interpretation in order to transmit the emotional dimension of the audience on stage through music. cantes flamencos. Thus, initiatives that use the flamenco As an element of theatrical representation, I consider them a success. It is a way of returning to the origins of this universal art.
In this way, on November 16th the singer from Ponta Negra david pine will pay tribute, once again, to the musical genius Mr. Antonio Fernandez Diaz Fosforito with the dramaturgy Nazarene and Olivares, a work that delves into the artistic and personal career of the maestro. It will take place in the hometown of both, in Puente Genil, with an event organized by the City Council of this Cordoba town, within the framework of the actions designed for the celebration of the International Day of Flamenco.
We have spoken with David, whom we thank for his availability despite his busy days due to the preparation of the beginning of a new course of the Chair of FlamencoCordoba's science, an entity that he has managed with indisputable success for several years now.
– Welcome, David. It is a pleasure to welcome you to Expoflamenco, where you are much loved, respected and admired. Tell us, when and how did the idea of making this play about the maestro Fosforito come about?
– Greetings to you, Alvaro, and to all the friends of Expoflamenco. The pleasure, of course, is mine. Well, look, the idea of bringing the life and work of the maestro Fosforito to the theatre came from Rafael Castejon Torrico –we are talking about the year 2016–, responsible for Flamenco in network, to be presented in the run-up to the White Night of Flamenco. Rafael asked the Peña The Syrup and she contacted me. I was asked to do a sample of her life and work with a didactic approach. And I came up with the idea based on the experience I had spent several years in the company La Carnicería Teatro, led by director Rodrigo García, where I had the opportunity to observe the intricacies of the staging of a play. To do this, I got to work, and I was in charge of both the dramaturgy, that is, the text, and the direction.
– Did it take you a long time?
– It was quite a hard job. Keep in mind that I was faced with a task that was new to my professional life. And yes, it took me quite a while. On the one hand, and you know this better than anyone, I had the advantage of having to tell a story that was, if you'll pardon the redundancy, well-told, well-known and as juicy as that of the maestro Fosforito, both personally and professionally. However, I had to shape it thinking that it was a dramaturgy, with all that that entails. If I remember correctly, it was about four intense weeks of work.
– What difficulties did you encounter?
– The difficulty of telling, as I told you before, a story in a theatrical key, having to give it dramatic form and at the same time make it an attractive and educational show, and with the greatest artistic excellence possible. For that I surrounded myself with the best, because ultimately here it is about telling, as it is perceived throughout the work, the most relevant part of Fosforito's story. And everything that has transcended in his artistic work, whether in his facet, for example, of singing to dance, of his first beginnings with all the difficulties of a child of the post-war period who makes his way in the world of Flamenco, going through his relationship with artists such as Manolo Caracol or Antonio Mairena. We address, of course, all the recognitions he has obtained throughout his career. In the play there are two Fosforitos: the personal one, played by the actor Enrique Garcel, and the singer, played by Bernardo Miranda.
«The show 'Nazareno y Olivares' features the participation of the singer Bernardo Miranda, who has done an incredible job of interpreting when it comes to immersing himself in the skin of Fosforito, and the guitarist Alejandro Hurtado, who offers a review of the evolution of the flamenco guitar by embodying the guitarists who accompanied the master: Niño Ricardo, Manolo de Huelva, Juan Habichuela, Sabicas, Juan Serrano, Enrique de Melchor, José Antonio Rodríguez and Manuel Silveria. The dancer Yolanda Osuna also makes two appearances»
– Why do you consider it necessary to dramatize the life of the teacher?
– Because he is one of the greatest figures in the history of Flamenco who, fortunately, is also with us.
– Where else have you performed it?
– We premiered it at a preview of the White Night of Flamenco 2016. When this type of premiere is held, we always know when it will begin, but nowadays, it is normal that there is no prospect of continuity. However, once the work was finished, all the members were so happy that we felt it was worth aspiring to perform it in more places. Thus, in the same year we did it at the Teatro Circo de Puente Genil in the framework of the International Congress of Flamenco organized by the Peña Juan Breva. Later, in the parallel activities of the National Competition of Córdoba. Again in Puente Genil at the Teatro Circo, but now open to the public. And finally at the Málaga Biennial. The work, however, has evolved. We are offering a re-release, because we have renewed the scenography by having a lighting artist such as Juan Breva. Miguel Angel Ramos.
– Finally, David, tell us very briefly about the cast of artists.
– We have an absolutely reliable singer like Bernardo Miranda, who has done an incredible job of interpretation and gestures when it comes to immersing himself in the skin and expressiveness of Fosforito. Guitarist Alejandro Hurtado also does a commendable job, offering a review of the evolution of flamenco guitar itself by embodying the various guitarists who have accompanied the maestro: Niño Ricardo, Manolo de Huelva, Juan Habichuela, Sabicas, Juan Serrano, Enrique de Melchor, José Antonio Rodríguez and Manuel Silveria. We also have the dancer Yolanda Osuna, who makes two appearances, the first one embodying the figure of Manuela Vargas, with whom Fosforito worked a lot in his time. And we even have two palmeros representing artists who worked with Antonio. The play ends with a dance in which the artists play themselves, but interpreting Fosforito's musical repertoire.
From Expoflamenco We wish our admired and beloved maestro David Pino the greatest possible success with the re-launch of this magnificent initiative. It is commendable that artists of David's stature and professional career do not forget the great geniuses of this art, and make known, with respect, rigor and affection, their life and work. Congratulations, David!
