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Understanding 9/11tv Taini sledstviya-9 RUSSIA1 April 23, 2024 2:55am-3:41am MSK
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amargura no hay cabeza en el mundo que no guarden locura yomá que a mí yomá yo mamá que a mí loco loquito loquito estoy por ti yo más yo mamá
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que yo empecé a coleccionarlos con ya te regalé un anillito te pagato al medio contigo se me volvieron critete como el cantivo como el cantivo dámelo dámelo que dámelo tú que tu corazones tú en la holla amable state of duenda is possible only in the flamenco genre? no, not only in flamenco, but in any creative activity, for example, an artist or a tariador, also experiences duende. you don't have to be involved in flamenco, and i have no doubt that such a charming presenter as...
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it's from god, god throws seeds that grow all over the world, so flamenco is everywhere, not just in andalusia, wherever divine seeds fell.
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i belong to those who believe that first there was singing, then the guitar, and then dancing. i am sure that i first heard flamenco when i was in her belly, and my grandfather loved to sing, flamenco sounded constantly in the house, and
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the origin of your family is catalan gypsies, catalan gypsies, although the origin of the family is from the south, from almeria and maloga. is it true that from the age of 3 you listened to camaron, an absolutely wonderful singer, who is probably one of the leading ones in the flamenco genre. it's true. already at 2-3 years old i understood that camaron was the greatest star. i
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locked myself in the room, and my parents couldn’t find me, they ran around asking where the child had gone. and i sat alone listening to camarón’s records and... i couldn’t be torn away from them, just as children cannot be torn away from a bottle of milk, me lo encontré nel caminino lo invité a que subiera del lobo de mi caballo, hay tú le está pidiendo a dio.
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komaron brought me out on stage and began to accompany me on the guitar. at that moment i decided to become an artist. but my father objected, thinking that i was too, too small. how did i recognize you? kamaroon? how did he know about you? every time camarón came to barcelona, my father took me with him to a concert, i secretly made my way into the dressing room, where he was hiding from the fans, to greet my idol and ask to hear me sing. that you are his true fan, moreover, every time he came to barcelona, he asked, where is camaron silla, that is, the little camaron, that’s what they called me back then, non-ducends,
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why did comaron treat you in a completely fatherly way, he was then still wasn't the biggest flamenco star of the time. there was more ahead, one might say, he had not yet become the camaro that we knew him later, a legend, but for me he was already like that, i knew his whole life, all his records, i was his complete fan, i idolized him, idolized flamenco, and he understood this when he heard me sing, for the rest of my life i will have endless respect for this man, for 8 years he pulled you out on stage, and then you also performed with him,
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it is considered that you are a successor, but after the samaruk disc, which appeared in 2001, you said that this is your style, this is no longer camarón, you no longer imitate it. said that flamenco can be very different, and yes, i had my own path, paka delucia, i know that you worked with him for a long time, but since paka delucia we worked together for more than 20 years, we had either 14, or 15 world tours, he is a god of the stage, he had absolutely everything that a musician should have, i was incredibly lucky that i had the opportunity to be on his team.
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how important is it to you that in your flamenco there were dancers and bailaors. well, i would say that their presence is both important and not very important, and the cantaora singing dance can be an independent performance, there are contaoras who combine one and the other, i can do that too, i really like flamenco dance, but i still prefer to perform solo , without dancers, this dance is so beautiful that it
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is completely self-sufficient, the public adores it, everyone wants it all the time. different shows are staged, so they cope just fine without me y la espuma levanta y la ola romper y sobre l'arena blanca en para soñal. tell dukenda how important the lyrics are to you , and are there any songs that you wrote yourself? at first, i
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wrote the lyrics for the songs myself, so i felt a closer personal connection with them. the main theme of flamenco is life in all its manifestations. this is music about the feelings that we experience every day, about sadness,
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love, the pain of loss, simple joys. the topic depends. from a specific style, there is a flamenco style, it is called sigeria, where sadness dominates, it is very deep and a heartfelt song about human pain and suffering. the flamenco language is understandable to everyone, because even if you don’t understand the words, you can accurately read the emotions. music is a universal language.
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i would say this, these are completely different genres, which at the same time combine perfectly with each other, i had the experience of performing together with fadista, it turned out incredibly beautiful, but flamenco is flamenco, and any other music is another music, flamenco has no analogues , in my opinion, it stands apart in the entire world musical culture, perhaps... this is the most complex music that exists today, mastering it requires a lot of work. that's for sure. there is a flamenco textbook or flamenco encyclopedia. how to learn flamenco? the best way to do this is to do it live, attending performances and folk festivals where flamenco is performed by gypsies. you watch, memorize
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the movement, become infected with the passion of the performers, and try to repeat it. this is how it happens. dokenda, please tell me these words like ole, ole, which the audience pronounces during your performance. first of all, what is this word ole? ole always breaks out on its own, this exclamation is born when you are overwhelmed with emotions, you can’t help but shout out olya, these spontaneous exclamations are an integral part of flamenco, only the word ollia sounds, or are there some other words, and then there is arsa, arsa too breaks out from an excess of emotions to maintain the rhythm of the movement of tanya’s voice.
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yes, of course, each performer has their own. for example, a hat is part of my image, like leonard cohen. cohen had a hat, my father had a hat, here i have there is also a hat. i can’t imagine myself without her anymore. different flamenco styles require different external attributes. spain, someone like karmaya performs in
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trousers and a vest, it was karmanomaya who was the first flamenco dancer to perform in trousers. amazing, what, what interesting facts. song, and i never rehearse, i rely only on inspiration, the almighty guides me, and i sing as i feel at the moment,
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this is pure improvisation, built on inspiration, inspiration comes when i i am extremely concentrated and imagine that i am completely alone on stage, in the auditorium, that there is no one nearby, i can look inside myself, this feeling is so intimate that it is difficult to describe it in words, you are trying to find harmony with yourself, to love your song yourself, so that then those in the hall fell in love with her, you tune in, enter this state of love, enthusiastic acceptance of yourself, then everything will work out. then i will be able to infect people around with this delight, i repeat, when i go on stage, i never know what and how
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exactly... “i’ll do it now, and i myself am the first to be surprised when i do something, especially well, and this means that i’m on the right path, the same duenda that i spoke about awakens in you, he controls you, you have no power over him, you are just a shell; it is not you who sings, but the duenda, and he is responsible for whether you do it well or not.
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koen, having heard it performed by me, i saw it, and began to wipe away the tears that had come. , so emotional was his reaction to someone else’s performance of his own song, then he said that he wanted to meet me, we met, talked, i even have a photograph. amazing, i wasn’t sure that i would sing it well, but my reading in the flamenco style turned out to be filled with love and respect for this great musician.
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what other songs did you turn to, for example, jazz or? yes, i have ventured into other genres. i sang songs by alejandro sanz, performed mexican rancheras, but it still turned out to be flamenco. this is the kind of music that is difficult to include in another. everything that it touches, is imbued with the spirit of flamenco. and that's great. i think that flamenco is
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a genre in which there is no age at all, because it is known that there were competitions in which it was not young girls who won, but eighty-year-old elderly ladies who danced with such duende that it was impossible not to recognize them as the first, this so, be it dancing, playing the guitar or singing, flamenco has no age limit, if you can, you can for the rest of your days, flamenco has no expiration date, how do you see yours? like all of us, i don't know the future, i don't i know how long i have left, but i know that i will always perform flamenco, this music was with me when i was born, and i will die with it.
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how many times have you come to russia? i have been to russia more than once and came here with a pack. i can't say exactly how much, but it's a lot. spain than in spain itself. on stage abroad, he felt calmer and more confident than at home, in spain he was always nervous, but here so many different flamencos are performed, and it seemed to him that people they came not to enjoy the music, but to look for something to complain about. well, in other countries he was sure that the public truly loved him. how interesting that you feel the same way about performing as he does. the difference is really huge. paco is right, abroad, you feel freer. they treat you differently. the audience is always grateful. and in spain, so many people
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practice flamenco that at concerts there is always the feeling that these people did not come here to enjoy the music, but to catch you making a mistake. at a bad performance, it's holding you back, that’s why paca was real when he played outside of spain, he played like a god because he was free, it’s interesting how everything has changed, today flamenco sounds all over the world, but until recently it was believed that it was only possible to see and hear real flamenco in spain. exclusively in andalusia, there were few recordings, they were passed down like family heirlooms, from generation to generation, but now there is television, the internet, watch, listen, learn, wherever you
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are, dukenda, and you teach? oh, no, i don’t teach, give me some advice on performance, i can if they ask, but i can even conduct a full-fledged master class... this is no longer feasible for me. various flamenco schools periodically approach me, but i always refuse. the fact is that i am very shy by nature and teaching is not for me. well, it’s not quite like, after our conversation, i wouldn’t say that you are timid and shy. this is because i find it interesting and pleasant to communicate with you. thanks a lot.
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well, of course, the more emotionally the audience reacts, the easier and more natural it is to share inspiration with them, an exchange occurs energy from the audience, without this it is very difficult for me
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to perform my flamenco, at the concert there must be reciprocity, this is the main thing, porque no, estará la loca mueve cintura para los muchachos de la cintura, ahí estarara sí, ahí tararara no, aytarara niña me mi corazón , aytarara, sí, ay tararara, no, ay tararara, niña de mi corazón.
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always buy it, the wine there is excellent, but i don’t drink more than one glass a day, i have a ritual, i eat one olive, usually stuffed with anchovy, then drink mine a glass, but this doesn’t happen often, i drink very little, but what about just reading or listening to music? i listen to whatever is pleasing to my ears. as a child, i preferred rock and flamenco, but now i like classical, and not only that, that is , there is complete freedom here, of course, well kenda, thank you very much for this wonderful, very interesting conversation, which will help our viewers understand what this is flamenco, thank you.
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adventures of incendiary entertainment. welcome to a world of timeless elegance and unsurpassed comfort. the secrets of paradise are revealed in titanic luxury collection bodrum. news on the culture tv channel in the igor bidulya studio. hello. art is beyond politics. i'm glad i was able to touch the real thing russian culture, festivals of russian culture in tokyo opened to a full house. world concept of philosophy. kant is a philosopher of the world, he belongs to all humanity. the international kant congress opened in
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kaliningrad, gaining momentum. probably about a strong desire to love, and to love forever. the moscow international film festival continues in the capital. black and white figaro. and suddenly at some point i realized how this should exist. premiere at the vakhtangov theater of the play "seville barber". there is no politics in art, music has no boundaries. this is the motto of the festival of russian culture in japan. the very first concert of the show attracted a full house. on stage were young performers from both countries, including soloists. in the center of tokyo, the audience, with the discipline characteristic of the japanese, became gather in advance, the hall filled up so quickly that they decided to start the concert almost half an hour earlier than planned . festivals of russian culture in
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japan have become a good tradition, they have been held regularly for 22 years, but. for the third year now, each such discovery has been put under scrutiny. doubt until the last moment. in itself, holding this concert in tokyo, as well as subsequent events of the festival, is the result of enormous efforts, both on the part of the japanese organizers and on the part of the participants. but, despite all the pressure, in the conditions of the anti-russian course of the japanese authorities, it is impossible to isolate or abolish russia, especially russian culture. confirmation of this is a full hall of spectators and generous applause after each performances by our artists. opening the festival, a japanese actress. homaki kurihara, at one time she became famous throughout the soviet union for her role as a girl from jeroshima in alexander metta's film my love moscow. she announced that it was the younger generation of russian performers who were performing at today’s concert. the soloists of the st. petersburg house of music came to tokyo, under the leadership of sergei raldugin, despite their age, who managed to become laureates of prestigious
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international competitions, as well as japanese artists who succeeded as musicians, having been educated in russia. thanks to the festival, japanese viewers learned that this year marks three important anniversaries for russian and world culture: the 225th anniversary of the birth of pushkin, the 185th anniversary of the birth of rimsky korsakov, and the 180th anniversary of rimsky korsakov. this predetermined today's repertoire.
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elizaveta klyuchareva and lev zhuravsky conquer the japanese with their fantasy of themes from the opera “the golden cockerel” by rimsky korsykov. i haven’t heard such a performance for a long time, in my opinion, it was wonderful, the art of young russian performers is filled with incredible energy. andrey taranukha, a native of sevastopol, only last year entered the st. petersburg state rimsky conservatory. gorsykova, but received his first award as the winner of the competition for young percussion performers at the age of eight, demonstrating the skill of a percussionist, performing works by contemporary composers. i am glad that i was able to touch the real russian culture, great, with deep historical roots.
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