EL CANTE FLAMENCO DESDE EL CANTO CLÁSICO
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2021-05-05
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[ES]El trabajo que presento es el resultado de una investigación artística encaminada a comprender
y abordar el Cante Flamenco desde la perspectiva de un cantante formado en la tradición de la
música clásica. Para mi propósito he elegido el aria Che si può fare, de la compositora del
Barroco Italiano Barbara Strozzi. Tras investigar dentro del flamenco aspectos como el palo, los
compases, los acentos, los giros melódicos etc, he realizado dos bases de acompañamiento
instrumental: una al estilo barroco con sonido de clavicordio y otra al estilo flamenco con sonido
de piano. Una vez grabadas las bases y trabajada la técnica vocal flamenca con ayuda de la
cantaora Carmen Gersol, he cantado el aria en estos dos estilos tan diferentes, mostrando una
versión flamenca de la obra barroca.
[EN]The work I am presenting is the result of an artistic investigation aimed to understand and approach Flamenco singing from the perspective of a singer who has been formed in the tradition of classical music. For my purpose I have chosen the aria Che si può fare by the composer of the Italian Baroque, Barbara Strozzi. After investigating aspects such as palo, bars, beat, accents, melodic turns, etc. within flamenco, I have made two bases for instrumental accompaniment: one in the baroque style with the sound of the harpsichord and the other in the flamenco style with the sound of the piano. After recording the bases and working on the flamenco vocal technic with the help of the flamenco singer Carmen Gersol, I have sang the aria in these two very different styles, showing a flamenco version of the baroque work.
[EN]The work I am presenting is the result of an artistic investigation aimed to understand and approach Flamenco singing from the perspective of a singer who has been formed in the tradition of classical music. For my purpose I have chosen the aria Che si può fare by the composer of the Italian Baroque, Barbara Strozzi. After investigating aspects such as palo, bars, beat, accents, melodic turns, etc. within flamenco, I have made two bases for instrumental accompaniment: one in the baroque style with the sound of the harpsichord and the other in the flamenco style with the sound of the piano. After recording the bases and working on the flamenco vocal technic with the help of the flamenco singer Carmen Gersol, I have sang the aria in these two very different styles, showing a flamenco version of the baroque work.