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Maria Toledo Toledo, 1986. This artist, icon of the most current flamenco, has managed to drag a very young audience to his concerts. On October 5 he acts in Tarragona and on 18, in Seville. In November, the tour continues in Mexico and closes in Malaga at the end of the year.

He is neither gypsy nor Andalusian and he also sings flamenco with a piano that you play. It has broken all the topics that are expected of a cantaora. Yes, when I review the typical requirements of any flamenco, I do not meet any. But the Flemish soul goes inside. I have a classical orthodox formation, but then I evolved. What I am doing now are flamenco compositions. My last album, 'Corazonada', has two flamenco clubs and the rest are songs performed as a flamenco artist would. It is not traditional flamenco. Have you been accused of appropriating a culture that is not yours, like Rosalía? All that is being said about cultural appropriation is the product of 'marketing'. No one appropriates anything. First you have to train as a flamenco and then innovate. Do not judge any girl or anyone who does flamenco for the place where she lives. Even a Japanese can sing flamenco if he prepares it, studies it and carries the soul inside. Blood purity is not necessary, it is good for us to talk about flamenco globally. If we are all the same it would be boring; as if in stores all shirts were the same. The traditional current is very necessary, but there are also more contemporary people, as I can be, and others who move away from flamenco, even if they call their music flamenco erroneously. She has a law degree and came to work as a lawyer. Yes, I worked in an office, although I was short. On October 4 the video clip of the song 'Abogada del amor' that we recorded in the office where I did internship comes out. Those who leave figuration are the lawyers with whom I worked. Everything is real. His favorite branch of law was criminal, civil ... Intellectual property. In fact, I still have contact with this subject through record contracts, royalties ... I would make a complete reform of the contracts presented to artists. I never keep the first one. Now, it is the companies that need the artists and everything revolves around them. Now we do hear and, if you have very clear ideas, it helps not to be knocking. The record companies are not those dictators who sell us; they are not like this. You can talk with multinationals; I do it With clear ideas. Behind the companies, in my case I am in Universal, there are people who are wonderful, understand you and you can talk to them. If there is money, you bet, and when not, it's your turn to bet on yourself. That's what I do, investing in my profession of the only income I have, which are concerts, because artists can't live just from selling records, or you're a front-line artist and they do a lot of promotion in you or ... I live from my concerts and from whom you hire. Camilo Sesto, who died recently, became an entrepreneur when he set up the musical of Jesus Christ Superstar and spent 12 million pesetas on that project. I feel very identified because I have spent a lot of what I earn. If you have to pay posters or wedges ... Although a manager takes care, I always watch; I have a hard time delegating. I have a degree in Law. The fault is my father who told me 'to send to clean, you have to know how to clean yourself'. Learn you and you will know how to send. Has your father greatly influenced your career? At first, my career took her. Now he is the one who watches over the manager. My father is super-endearing, he always watches over me. He left the law because his passion is music. I did Law because we live in a country where I say you study music ... I had to combine Law with the conservatory, where I studied piano . It was very hard. In my house they told me 'ten bad years and all my life good'. It is a lie because it is a lifetime working. Can the flamenco elf be lost when taught in conservatories or universities? It is difficult to explain. Manolo Sanlúcar said in a book that the leprechaun can be seen in a flamenco rock and also in a stadium. In a conservatory they can teach you the ways and the different schools, but there is one thing that is not: the pinch. You can be half a life in the conservatory but if you don't have experiences ... At 20, I went to listen to flamenco at night to the rarest places in Madrid with a tape recorder like that. Then, I listened to the Gypsy Indian and Juanito Valderrama and lived the flamenco culture. I recommend that people do not leave everything in the conservatory, but have experiences. People tell me 'you have a pinch, you look gypsy'. Since I didn't have that in my neighborhood, I searched for it. I have always thought that a person with concerns goes further than another talented and lazy person. He has four Latin Grammy nominations. My third album was very flamenco and he was nominated for album of the year. It was a carambola; with how difficult it is and all the people who show up. I spent what I didn't have and recorded it in the best place with the best musicians. Cantaora married to the Sevillian bullfighter Esaú Fernández. Yes, topicazo. But supermodern, because who makes the orange juice and cooking is him. I carry the papers. Huh, gordi? [she says affectionately to her husband]. I am an advocate of women at all costs. In bullfighting and flamenco there is a macho chauvinist. Yes, super. I heard there were songs that women couldn't interpret because they didn't sound the same as in a man's voice. Not? I prepared them and sang for soleá, seguiriya, toná and martinete, which were the songs in which we had to have an aguardentosa voice, as they said. What is the topic that bothers you most about flamenco? The machismo? I have never suffered the machismo. Injustices collapse the weakest people, but if you are a person with a lot of temperament ... I have never felt machismo in the face. I heard that from the cantes, but I didn't suffer it. I am comfortable with how all the men have treated me. What will we see in their concerts? Let's see a flamenco with the piano. I will be surrounded by bass, guitars, palm trees from Jerez, chorus, percussion ... it will be a superconcert. How is your audience the most loyal I have seen in my life. They are very young, you can see in the photos that I upload to social networks. The average is 18, 17, girls 13 ... until 40. I do not present myself as a flamenco in a blockbuster with costumes ... I wear fringed pants and my red nails, which is my hallmark. Are you comfortable with the time you had to live? I would have to be dead for 30 years because I don't know what's happening. I do not understand this time nor do I like it. The same is always heard in the premises and what is happening with live music? In my concerts there is no recorded track. And what are those letters? I mess with another one in the room, women as objects ... is that what nursery is? Where are the men dressed as men? The gallants Where is Manolo Caracol? ¿Manolete? That roll. Now everyone goes the same; They seem to come from the pool to go out at night. I don't understand it. I would squeak all this. I have a mix of traditional, but open, and I don't like where we're going. What is that music in which they use techniques to sharpen your voice? Then you listen and say, but what happened. Where are the people who spend so much time studying in the conservatory? Only money is interested and that you sell. The pressure on women artists is tremendous. Notice, in the past, there was a magazine called 'Interviú', which they closed. Now it is not necessary because there is Instagram. It is free and they leave all naked in plan 'here is my body'; Well, you smelled, but I don't like it. Even to the singers. You have to be good. And, I don't like this, but it's what it takes. That is why I affirm that I had to be dead for 30 years. When I say that everything is live in my concert and we are not going to show the body, they look at me as if it were very old or coming from Mars.

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