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I was lucky enough to see Paco Pena at the Peacock Theatre in London on Sunday and thought I'd share the details of what was an astounding performance.
I hadn't heard much Paco save for one album 'Fabulous Flamenco' which I've been loving for its traditional style. I knew even less about the man himself. After the performance, I have a lot of respect for him. It was truly fantastic.
Paco's ensemble consisted of 3 dancers; the striking Maria Franco, stunning Angel Munoz and the 'quirky' Ramon Martinez. On castanets was a pregnant and very beautiful Charo Espino. I need to check the programme to see who the two singers (one male one female), cajon player and guitarists were.
As the lights dimmed, the cantaor walked on stage, tapping out a rhythm with a stick. The cantaora then began to sing to this simple accompaniment. Then, the guitarists – and Paco – began.
This first piece, not for the first time in a flamenco performance, moved me close to tears. I wasn't sure what palos it was, but in the Guardian arts review was described as an 'Alborea'. It was beautiful.
From then on, one piece after another had me in raptures, with changing tempos used to great effect, sometimes culminating in fast, pulsating rythms with what sometimes seemed sometimes like a latin American sound.
But the traditional was really the order if the day. One piece really stood out for me, a stunning Rodena with the dancer Ramon Martinez. It was a joy to listen to. An alegrias also featured, and of course a bulerias to finish.
A simple background to the stage with changing canvases in Spanish colours – yellow, red, black - was all of the backdrop that was needed. The subtle changes in the lighting - often to complement the Maria's dresses - were very effective.
Paco’s guitar, while not exciting me in the way that, for example, PDL’s might, was perfect. Fancy technical displays and hogging of the spotlight don’t seem to be Paco’s style. Rather this was a display of real flamenco, entirely faithful. For much of the performance, save one or two solos, Paco seemed happy to blend into the background, accompanying impeccably. At times he actually looked a bit bored – perhaps his ‘concentration face’, but then he would break into a smile at the antics of one of the dancers or just at a point when everything was ‘coming together’. He seemed so comfortable and pleased with his group.
The dancing, particularly the two males, was entrancing. Once I had recovered from the tightness of the men’s traditional all-in-one style trouser suits, I simply sat back in awe. They were astounding - very powerful and athletic, throwing some fantastic quadruple pirouettes. Angel was positively dripping masculinity and sex appeal whereas Ramon’s moves were more quirky and often comical (over the top hip thrusts followed by suggestive glances at audience) but equally impressive and entertaining. There was great interaction between the cantaora, with her more or less constant jaleos, and the dancers. I love the factual nature of the jaleos. For Maria, it was ‘Maria la guapa’. At one point Ramon refused to dance until she cheered him a bit more, which she responded to with ‘Tu es el torero!’. It really added to the atmosphere, which was unfortunately a bit lacking from the audience. (I don’t think I heard one Ole!).
Charo Espino on castanets was a delight to behold. She had such poise and grace. She had us puzzling over a strange move with her castanets, when she seemed to 'nip' at her arms and legs as though they were little hungry clams! Funny to watch.
There was one strange interlude, in which the entire ensemble staged some sort of factory scene – half of the men stood round a table hammering metal, the others sat at another table while the women sat to the other side of the stage, castanets and palmas poised. I thought perhaps a Minera was coming up, but instead they all proceeded to create a powerful, elemental rhythm of clapping, hammering and banging the table. It sounded great, but I don’t know if it was necessary. I guess it was meant to be a representation of the title ‘A compas – To the rhythm!’.
Anyway, overall it was amazing. I went with 6 friends 5 of whom knew nothing about flamenco. I always think a good sign of how much a person is enjoying a performance is how much fidgeting they do. Lots of fidgeting = bored! Believe me, they all sat as still as statues throughout – transfixed, as I was.
If any of you can make it to London before it closes I'd strongly recommend it. I think tickets are reduced by 50% on lastminute.com
Posts: 1827
Joined: Jul. 8 2003
From: Living in Granada, Andalucía
RE: Paco Pena - A Compas! (Review) (in reply to Romanza)
Lovely review. Thanks for that. My parents saw the same show and enjoyed it just as much as you. I love the way Paco does not take centre stage but works as part of an ensemble, just as it would be in a Peña, very authentic. While I love his stage show I am not sure I would buy an album of his though. I saw him live many years ago and the castanets played a memorable part then with the dancer flirting outrageaously snapping the castanets at Paco to the point he blushed.
quote:
ORIGINAL: Romanza half of the men stood round a table hammering metal, the others sat at another table while the women sat to the other side of the stage, castanets and palmas poised. I thought perhaps a Minera was coming up, but instead they all proceeded to create a powerful, elemental rhythm of clapping, hammering and banging the table. It sounded great, but I don’t know if it was necessary. I guess it was meant to be a representation of the title ‘A compas – To the rhythm!’.
I guess this would be a traditional Martinete with its roots in the Gypsy forges. Up until recently we still had working fraguas in the caves of the Albaicin. Our staircase was forged in one of them and brought down the hill on the back of the small and very old wizened blacksmith. It's one of my favourite palos. It is interesting that in recent years flamencos seem to have realised the uniqueness of the rythmn in flamenco for foreigners. At least I see more and more shows focusing on this aspect.
RE: Paco Pena - A Compas! (Review) (in reply to Kate)
quote:
I saw him live many years ago and the castanets played a memorable part then with the dancer flirting outrageaously snapping the castanets at Paco to the point he blushed.
Yes it was a bit like that here too! It was great to watch.
quote:
I guess this would be a traditional Martinete with its roots in the Gypsy forges
Yes it must have been that. But I was surprised that there was no other accompaniment for this. It was literally just the unrelenting beat. Very effective though.
RE: Paco Pena - A Compas! (Review) (in reply to Romanza)
Thanks for taking the time to post that review.
Paco Pena has always been very underrated, I guess because he moved over to the UK away from Cordoba and made his reputation 'abroad' I have always been a great admirer of his playing and had the good fortune to attend his summer school in 1990. He is a masterful flamenco and it's nice to read that his show has been a success. I was told that he sees himself being very much in the shaddow of other more famous players but for me, he is the best.
RE: Paco Pena - A Compas! (Review) (in reply to Tomás Jiménez)
Tomás, When I heard some of your samples from your site, I was immediately impressed as to the similarity to Paco Peña. Although the guitar style has changed a lot since his early days, his playing left a lasting impression on me and a respect which will always stay with me. Wish I could attend your Cante Accompaniment course in the Summer. But for the likes of me living way up North...Three separate Saturday's would not be possible. It would have to be something more like say a 3 day (morning/afternoon) intensive course.
RE: Paco Pena - A Compas! (Review) (in reply to Tomás Jiménez)
Hi Tomás
Thanks for your reply - glad you enjoyed reading the review.
I would love to come and see you play and having checked your list of concerts I think I could make the Ealing show and possibly even Brighton next week.
I don't really know what to say on the traditional vs fusion .. there are definitely purists out there who would prefer your style, and people who prefer neuvo / fusion etc. Then people like me who love both..
And yes I read about Angel's course, but I have never danced before and would be too shy!! And besides, the guitar is my first love!!
RE: Paco Pena - A Compas! (Review) (in reply to Tomás Jiménez)
what a great review. thanks, romanza.
i am a big fan of paco pena. his style is traditional yes but what i really enjoy about his playing is the sweet lyrical quality about it. when i found a bulerias of his from "the incredible paco pena" i was surprised at how fast and aggressive it was.
someone on another forum who had studied extensively with paco, told me that the bulerias in question was recorded when he was still young and a bit flashy. he also said that paco pena is the most laid back and relaxed player he's ever seen hold a guitar. maybe that's the reason for the bored look.
much of his discography is out of print. can someone point me to some good resources for hard to find albums?
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