Ευλογημένο δάκρυσμα

DIEGO EL CIGALA, ‘DOS LÁGRIMAS’. VERANOS DE LA VILLA 2007

Blessed weeping

Silvia Calado. Madrid, July 24th, 2007

‘Dos lágrimas’. Diego el Cigala: cante. Guillermo Rubalcaba: piano. Tata Güines: congas. Changuito: percussion. Machado: trumpet. Jaime Calabuch: piano. Yelsy Heredia: contrabass. Diego del Morao: guitar. Sabú: box drum. Veranos de la Villa 2007. Patio de Conde Duque. Madrid, July 24th, 2007. 9:30 p.m.

Never before had weeping reflected so much happiness. It wasn’t black at all. A few years ago, the black tears of ‘Lágrimas negras’ caused a radical change in the career of Diego el Cigala, who went from being a cult cantaor to an international star of the masses. A cantaor can’t achieve that with his cante alone. He needs company. And in his case it was that of Bebo Valdés and in general, that of Cuban music, which the flamenco artist understood himself with perfectly. That might be why such a solid entente couldn’t break off just like that. And the project lives on. Although he has announced the release of the album for September, he decided to provide a preview of the contents of ‘Dos lágrimas’ live. The premiere, with the cancellation of yesterday’s show in Valencia - took place in Madrid. And his hometown welcomed him with a full house at the Patio de Conde Duque... in the bleachers and standing.

Perhaps because there was still daylight, and you know what happens to vampires, Diego el Cigala sent out his group to do a prologue. The full flavor of Cuban sound was concentrated on stage, livened up by the entrance of old-time percussionists Tata Güines and Changuito. And now it’s nighttime. And out comes the cantaor. That quejío of his adapts itself to the band, which mollycoddles it... and a lot of rhythm in ‘Si tú supieras’. Everything turns soothing with “te odio tanto”, but without losing any flavor. And then Tata bursts out on congas, while someone snitches that he’s “eighty-one!”. Cigala thus presents his version of the copla ‘El día que nací yo’, which has clave rather than compás in its clapping. The group behind him providing inspiration, wisdom. Marvelous. But still missing was the master key, veteran Cuban pianist Guillermo Rubalcaba. Dressed in perfect white, hat included, he is introduced by the host as “another of the old glories of Cuban music and I’m very happy to have him by my side”. And then he intones “ya no estás más a mi lado, corazón”. The cantaor takes a breather, the rearguard takes over. And again song, cante, copla. “Están clavadas dos cruces” goes from Seville to Havana, without fail. And the invention has its special something. Cascorro calls for bulerías. And the renowned artist asks for patience. There’s still ‘Compromiso’ to go.

Now then. The flamenco guitar of Diego del Morao snuggles up to the microphone. Flamenco requests a place for itself. But Cigala’s way, who dedicates his fandango-style version of ‘Se equivocó la paloma’ to his mother there present. From the repertoire of his album ‘Picasso en mis ojos’ he also picks out ‘Chanelando’, amidst some cantecitos por tangos which draw olés from the audience. The warm-up leaves him at the starting grid to face the great cante, the soleá. And he chooses the ideal lyrics. “Fui piedra y perdí mi centro...”. He tempers, lengthens, feels. He takes advantage of the ambience to premiere a song which he’s recorded for the soundtrack of the film ‘¿Tú quién eres?’ by Antonio Mercero, which aims to increase awareness about Alzheimer’s disease. “Me apetece cantárosla”. (“I feel like singing it to you”.) And he does so alone with his guitar and his contrabass. He wanted to sing por bulerías, but he couldn’t hold the band back any longer. They came back in completely refreshed, ready for the final release with ‘Dos gardenias’, a real pleasure, a breath of fresh, clean, playful air. Diego el Cigala just as easily sang or laughed, or grabbed the baton and moved around stage conducting his musicians, giving them lead-ins, lead-outs and signals to double up. The choruses and cheers are Cuban-style, the bailes with the crowd standing between flamenquillo and salsa. The two pianos challenge one another. Cigala sings. The energy flows. Flamenco and sound were never so close. And there was a tremendous ovation, and of course, requests. Although it was a delight, ‘La bien pagá’ wasn’t what was needed. Can you guess? By popular demand, ‘Lágrimas negras’. And not just one voice was heard.
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