2023-11-27 02:04:04
The Malaga native Pasión Vega (Ana María Alías Vega) starred this Sunday at the Arriaga in a “special concert for us”, that is, for the performers, an almost intimate show that flew over the legend of Federico García Lorca and dramatized the approach to the myth with the help of the Cádiz actor Víctor Clavijo, who did a wonderful job in developing this little work with a script and direction by Ana López Segovia, a Cádiz native born in Zaragoza to Andalusian parents.
The theater was filled (840 seats occupied, the best, with those with reduced visibility remaining unsold; “reduced visibility is a euphemism,” observed Óscar Esteban) to witness a proposal titled ‘Lorca Sonoro’ (a title that could be improved, although in the script is played with the fact that there is no audio recording of Federico speaking with his baritone voice, who on one occasion when he was planning to record fell asleep, the sheets stuck to him) and that it is called the same as Pasión’s last album, although the repertoire of the staged concert is a bit broader, since what is captured on stage is more open-minded, friendlier, more commercial, better known. Kinder even though Passion, as she was acting, was less cheerful than ever!
The event lasted 95 minutes and about 18 pieces were played, including a swing recited by Clavijo (‘La aurora de Nueva York’, whose lyrics the namesake Esteban began to sing and explained: “Loquillo has covered it. And Morente! »). Pasión, who wore two dresses (the first red and the second white), who also performed briefly and who generally evolved like a cabaret artist between the jazz club and the Cuban club, sang very stylistically, with melismas and falsettos, sometimes so how low we couldn’t help but evoke Rosalía (especially in Leonard Cohen’s version of ‘Little Viennese Waltz’, where she garnered some bravo, and in ‘Green Eyes’, awarded with the loudest ovation).
Víctor Clavijo and Pasión Vega. Oscar Esteban
Ana / Pasión opened with ‘La tarara’ and took it to the after hours. ‘Romance de la pena negra’ (by Soledad Montoya) seemed like a neo-copla a la Carlos Cano, ‘Baladilla de los tres ríos’ (the one about “ay amor…”) moved from the copla to tropicalism, and the peak of the repertoire he trampled it with the ‘Ballad of Rider’ (that of “in the black moon of the bandits”, a nocturnal jazz a la Charlie Haden). Then he reviewed several short and minimalist adaptations (‘Los cuatro muleros’ a cappella, ‘Anda jaleo’ with voice and light percussion, ‘En el café de chinitas’…), a well-resolved jazz song was ‘La sombra de la lágrima’, not ‘The Legend of Time’ was very far away for him (perhaps because we compared it to Camarón’s), and as an encore he sang a song not included on the CD and which he presented as exceptional, for “only here and now”, the ‘Requiem for Federico’ written by his friend Rafael de León and led with elegance towards after hours jazz.
Pasión was accompanied by a trio, although not the one announced in the program: Jacob Sureda was missing on piano and Jacobo de Miguel came, and José Vera was on rhythmic basis on double bass and on percussion, instead of Manuel Masaedo, came Kavier Katumba, who uses stage name.
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