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Miguel
Poveda gold-plates his album ‘Coplas del querer’
 Martirio,
Carmen Linares, Pitingo, Amargós… were some of the colleagues who
applauded Miguel Poveda when the president of his record company handed
him the gold record at the SGAE’s modernist headquarters in Madrid. As
the shiny plaque attests, the double album ‘Coplas del querer’ has
managed to sell over 30,000 copies. And it’s a double achievement.
Firstly, because of the present economic situation and the cancer of
illegal downloads, which have lowered record sales by at least thirty
percent… including those of flamenco, unfortunately. Secondly, because
of the genre in question: the copla. Which, according to its defenders,
has been reviled by those who brand it as the soundtrack of Franco’s
regime.
When he came up to the mike, smiling and radiant, he thus remarked:
“It’s not just a joy for me, but for a genre which deserves it, beyond
political matters which don’t agree with music”. And to endorse the
current vitality of Spanish song, he stressed the name of his stalwart
Martirio and also that of Carlos Cano for having “brought this genre
closer to the crowd with a different treatment; he’s made it pretty easy
for those of us who have come afterwards”. As he had already explained
in aninterview for Flamenco-world.com, his aim with this album is just
“to show people they have this other way of reaching the copla, through
my music, Amargós’s and Chicuelo’s”.
And of course, his lead guitarist didn’t miss the act. With his
instrument, he accompanied Miguel in a mini-recital - flamenco-style,
that’s to say, vocals, guitar and clapping - which illustrated the
‘ceremony’. He performed songs such as the potpourri entitling the
album, ‘Los tientos del cariño’, a more bulería-style version of ‘A
ciegas’ - a song which is part of the soundtrack of ‘Los abrazos rotos’
(‘Broken Embraces’) by Pedro Almodóvar - and lastly, ‘Tres puñales’. He
finished singing and once again found himself surrounded by cameras and
mikes, an infrequent situation for a cantaor... who, from the mere fact
of being one, usually arouses little interest in the media. But Miguel
Poveda has already gone beyond that incomprehensible barrier of
indifference, like what happened in the end to Camarón who, by the way,
returned to the front pages today due to the premiere of the documentary
which celebrates the 30th anniversary of ‘La leyenda del tiempo’, and
which also happens today to Bernarda de Utrera… but unfortunately, not
because of her art, but due to her death.
Date:
3/11/2009
Research:
hojjat kalantari
Source:
flamenco world
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