The 'daughters' of Paco
Published by EXPOFLAMENCO (08/05/2024)

  • The flamenco singer Naike Ponce leads an all-women cast at the Castillo de Santa Catalina in Cádiz to pay tribute to the genius from Algeciras with a journey through some of his greatest hits


    (Foto: Sergio Ibarra)


    It is striking that flamenco rejects something so common in other genres of music: performing repertoires by others. In classical music, not only is it normal to play Bach or Beethoven, but it is also considered essential and desirable. In jazz, playing pieces by Charlie Parker or Miles Davis is perfectly standard. Even in pop or rock, covering songs by great masters is commonplace. However, in the realm of jondo, for reasons I cannot explain, it seems inconceivable for a guitarist to take the stage and perform Manolo Sanlúcar’s Tauromagia in its entirety or for a singer to render a whole album by Camarón. Those who have ventured into similar endeavors (off the top of my head, Diego Amador or Duquende) have found that they are afforded very little recognition for such efforts.

    But perhaps this trend is beginning to change, as great creators have passed on, leaving behind a legacy that can now be considered classic. This might have been the thought process of flamenco singer Naike Ponce as she led the show Women Celebrate Paco de Lucía, a performance that took place this Sunday at the Castillo de Santa Catalina in Cádiz as part of the Patrimonio Flamenco series.

    The timely occasion of the tenth anniversary of the passing of the genius from Algeciras aligns here with the recognition of the role of women in flamenco beyond their conventional roles. Thus, an all-female cast takes the stage to revisit some of the maestro’s greatest hits. Paco’s own voice, extracted from various interviews, serves as a gateway to a repertoire that begins with the familiar notes of Ziryab, transitioning to the Spanish song Te he de querer mientras viva, immortalized by Marifé de Triana. From there, it moves to Volar, leading into a medley of bulerías. From the very start, it becomes clear that the tribute will focus on the more popular and festive side of the honoree’s artistry.

    This is further confirmed by the tangos that begin with Cositas buenas, Canción de amor accompanied by the entrance of dancer La Piñona, the rondeña Camarón, and Señorita. Several impressions arose during the performance: from the realization, once again, that Paco de Lucía not only revolutionized the guitar but forever transformed the instrumental landscape of flamenco and even vocal orchestrations, to the undeniable fact that his music is not merely a sequence of notes flowing within a rhythm. It challenges any performer to navigate the peril of unfavorable comparisons.

    The performance featured perhaps the two women best equipped to tackle this challenge: the masterful Antonia Jiménez and the young prodigy Alba Espert, along with a lineup of highly talented instrumentalists, among whom percussionist Nasrine Rahmani stood out. As for the vocals, alongside Naike Ponce and her distinctive style was the only woman in the cast who had shared the stage with Paco, Montse Cortés. In dance, Lucía La Piñona shone as always, despite having to focus on not taking a spill on the wet and slippery floor—an occupational hazard of performing just two meters from the waters of La Caleta.

    On the other hand, the performance, which suffers from certain pacing issues, moves within a devotional realm bordering on the religious (“our father, our guide”), which might have unsettled the incurably shy man from Algeciras. However, he would likely have been pleased to see that his once bold and avant-garde legacy is now seamlessly integrated into contemporary classicism. After the indispensable (or perhaps inevitable) Entre dos aguas, the show concluded with a finale where all the artists unleashed their energy, fueled by the euphoria of successfully conquering an extraordinarily challenging task.


    (Foto: Sergio Ibarra)


    Artistic Details:

    Women Celebrate Paco de Lucía, by Naike Ponce
    Patrimonio Flamenco Series
    Castillo de Santa Catalina, Cádiz
    August 4, 2024

    - Singing and Dance: Naike Ponce
    - Singing: Montse Cortés
    - Dance: Lucía "La Piñona"
    - Guitar: Alba Espert and Antonia Jiménez
    - Double Bass: Gal Maestro
    - Piano: Mélodie Gimard
    - Winds: Lara Wong
    - Percussion: Nasrine Rahmani
    - Palmas: Paula Moreno and Raquel González


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