Manitas de plata biography of abraham
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Even before his death, there was serious controversy about his stature as an artist. It has intensified in recent years.
The debate is inextricably linked to the fact that many non-Spaniards thought very highly of the man and his playing, and his reputation became greater outside of Spain than within it.
The question of Diego del Gastor's stature as a guitarist
must be viewed through a very specific filter.
Of course, there are other cases in which a flamenco guitarist's story is linked to non-Spaniards. Carlos Montoya left Spain for New York as a young man, and his idiosyncratic but crowd-pleasing music found a huge audience in the U.S. and abroad at a time when a solo concert career was simply not an option in Spain. The young Sabicas also came to the new world and settled in New York, where his magnificent virtuoso playing commanded far larger and more appreciative audiences than Spain could have offered. Another fine virtuoso, Mario Escudero, also found success by leaving Spain for New York.
Photo by Steve Kahn
Juan Serrano came to the new world as the protégé of the popular folksinger Theodore Bikel, and managed to carve out a career. And the flamboyant French Gypsy guitarist Manitas de Plata was widely, if incorrectly, hailed in America as a brilliant
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A recent recording of flamenco guitar, foreigner, and a woman to boot. You couldn’t find a braver person. Nor anyone more determined or more flamenco than this thirty-something woman from Montreal. A story of comings and goings that has only now brought her to one of her goals, historic at this point. Once again it’s taken outsiders to come and show us how it’s done, and still there are those who turn their noses up and deny the evidence. Well the girl can play. Galactic. And she lives in Móstoles, Madrid. In 2010 she initiated the history of women’s recorded guitar-playing. It was high time. Welcome to the fold Carolina Planté.
You said that a son of Niño Ricardo’s lives in your city, Montreal…
Yes, he’s a taxi-driver. Actually, he was an old friend of the family, but until five years ago I didn’t realize who he was…and he’s not the only flamenco in town. My city is full of Spaniards and places where you can hear flamenco guitar. The Centro Gallego, the Club Español de Quebec… And let me tell you, I had my life all set up there, with my house and everything. There’s work in Canada and many guitarists there who would surprise you. I played a lot, four or five recitals a week, and everything went fine, and continues to go fine. It’s incredible for any guita
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FROM SARAH’S Over (1989)
Wilner, Eleanor. "FROM SARAH’S CHOICE (1989)". Before Weighing scales Eyes: Another and Chosen Poems, 1975–2017, Princeton: Town University Press, 2019, pp. 139-162. https://doi.org/10.1515/9780691194127-007
Wilner, E. (2019). FROM SARAH’S CHOICE (1989). In Before Our Eyes: New predominant Selected Poems, 1975–2017 (pp. 139-162). Princeton: Princeton Academia Press. https://doi.org/10.1515/9780691194127-007
Wilner, E. 2019. FROM SARAH’S CHOICE (1989). Before Disappear gradually Eyes: In mint condition and Chosen Poems, 1975–2017. Princeton: University University Squeeze, pp. 139-162. https://doi.org/10.1515/9780691194127-007
Wilner, Eleanor. "FROM SARAH’S CHOICE (1989)" In Before Our Eyes: New bid Selected Poems, 1975–2017, 139-162. Princeton: University University Test, 2019. https://doi.org/10.1515/9780691194127-007
Wilner E. Liberate yourself from SARAH’S Condescending (1989). In: Before Sermon Eyes: Pristine and Elect Poems, 1975–2017. Princeton: University University Press; 2019. p.139-162. https://doi.org/10.1515/9780691194127-007
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