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The idea has great potential, IMO, but the singer has to learn how to use his voice the right way. Of course, not everybody sings "the right way" nowadays (I'm referring to Spaniards) and it's all a matter of personal preference, but...
I think everyone should spend years getting used to the way traditional letras and melodies fit the compás before experimenting. Traditional letras nearly always have a predetermined meter (the number of syllables per line of verse, the number of lines of verse and the rhyme scheme) and that's something to think about.
Do you have some specific spaniard in mind who doesn't sing the right way?
Sure, dozens of them, but it's not something I want to post on an Internet forum (PM me if you really want some names). In any case, some people aren't born with the right kind of throat and will never be able to sing "correctly," but that doesn't mean they deserve to be criticized (some deserve worse than that, but you know what I mean ). As usually happens in these situtation, what I am willing to talk about is what I like, although I'm afraid it's going to be the same list of names that I usually mention: Tío Borrico, Terremoto, Antonio Mairena, Pastora and Tomás Pavón, etc. Without pointing a finger at anyone, what I don't like are voices that sound like anaemic teenage girls imitating Camarón, and there are plenty of people singing like that nowadays. Camarón was great but too many people are imitating the least interesting parts of his singing.
Basically, to sing correctly you have to push a lot of air out of your lungs, but in a dynamic way, just like you would play some notes harder or softer with your right hand on the guitar. There are plenty of finer points that I wouldn't even know how to explain, for example (por siguiriyas) turning your head to one side and opening your mouth just a little, and then turning to face your audience directly while opening your mouth all the way. This produces a crescendo effect, or might even sound like the siren on a passing ambulance, depending on the letra, I suppose. Another important thing is knowing how to use your mouth, nose and diaphragm. Good examples of these ideas can be heard in the soleás of Manuel Agujetas and Juan Talega. They (and others) sometimes sound like they're using two different voices for the different lines of verse.
Manzanilla is fine. It's not so much a question of orthodoxy as it is of commitment, conviction, delivery, etc.
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). As usually happens in these situtation, what I am willing to talk about is what I like, although I'm afraid it's going to be the same list of names that I usually mention: Tío Borrico, Terremoto, Antonio Mairena, Pastora and Tomás Pavón, etc. Without pointing a finger at anyone, what I don't like are voices that sound like anaemic teenage girls imitating Camarón, and there are plenty of people singing like that nowadays. Camarón was great but too many people are imitating the least interesting parts of his singing. 
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