Matilde Coral
Matilde Coral , actually Matilde Corrales González (born June 22, 1935 in Triana , Seville ) is a Spanish flamenco dancer. Her stage name Coral is a poetic modification of the family name Corrales . As a dancer and teacher, she is one of the outstanding, style-forming personalities of flamenco.
Life
Her father saw in her a talent as a singer and enrolled her in the academy of Adelita Domingo . Soon, however, she developed a stronger interest in dance and switched to the school of Eloísa Albéniz . She learned her first steps from her daughter , later the mother Albéniz devoted herself to her education. She had her first professional appearances in 1951 in the company of La Niña de los Peines and Pepe Pinto. In 1954 she became a member of the flamenco ensemble of the newly opened Cortijo El Guajiro in Seville. In 1958 she moved to Madrid. In the local tablao zambra she got to know Rosa Durán's dance style . From there she moved to the Duende , where she completed her professional training under the care of its owner Pastora Imperio . There an exciting artistic rivalry developed with Trini España : "I was afraid of Trini España and she of me," she said, characterizing this relationship. After that she joined the company of José Greco .
In 1964 she performed with a Zambra group at the World Festival in New York. In the same year she appeared in the Antología dramática del Flamenco under the direction of Manuela Vargas at the Paris Théâtre des Nations and in Rome with José de la Vegas showing El Flamenco . In the 1960s she was honored with her first awards: in 1965 she won the Córdoba competition and in 1967 the Premio Juana la Macarrona in Mairena del Alcor, each with her interpretation of Alegría .
In 1973 Matilde Coral created some exemplary interpretations of Alegrías in the television documentary A través del flamenco by Claudio Guerín . For these recordings, she regularly took part in the flamenco encounters that Radio Sevilla broadcast weekly. At those meetings she got the idea of creating something new. With her husband Rafael el Negro and El Farruco , she formed a trio, Los Bolecos . Together with Farruco's son, José Antonio el Farruquito , they made their debut at the Hotel Luz Sevilla in December 1969 . This was followed by three years of joint appearances at the Tablao La Cochera in Seville . They also presented their new choreographic creations in the Madrid tablaos El Café de Chinitas and Los Castaneros as well as at the major annual festivals in Andalusia . During those years, Martín Revuelo mainly accompanied the group with his vocals and Manolo Domínguez with his guitar. Well-known and celebrated appearances from that time included a Taranto , in which they portrayed a scuffle, and a series of Alegrías to verses by Antonio Murciano . The choreography Preciosa y el aire to verses by Federico García Lorca , Rafael Alberti and Miguel Hernández was outstanding thematically . The performance brought them into disrepute with the police of the Franco dictatorship , who were delivering their final blows at that time. However, Los Bolecos received frenetic applause from the audience for their performances. In 1973 Farruco left the group to devote himself entirely to the artistic care of his son Farruquito.
Matilde Coral received other awards during the 1970s:
- 1970 with Los Bolecos the Premio Nacional de Baile de la Cátedra de Flamencología of Jerez de la Frontera ;
- 1973 La Llave de Oro del Baile Flamenco by Radio Sevilla;
- 1979 again the Premio Nacional de Baile de la Cátedra de Flamencología of Jerez de la Frontera.
Her first major project Dissolution of Los Bolecos was Arte flamenco de Matilde Coral , with which she appeared at the Seville Festival in 1975. Her ensemble included Loli Flores , Carmen Montiel , Carmen Juan , María Oliveros , Teresa Luna , Rafael el Negro, El Mimbre , Francisco Luque , Chiquetete , Romerito , Manuel Mairena , Manolo Limón , Rafael Mendiola , El Poeta and Manolo Franco . The piece won the Premio Itálico for the best flamenco show of the year. It then toured various Andalusian cities, but was not performed again afterwards. In 1979 she was appointed to teach Spanish dance at the Escuela da Arte Dramático y Danza in Córdoba. Since then she has devoted herself almost continuously to the training of dancers. Her stage appearances took place only sporadically; She concentrated on important events such as the 1984 Biennale in Seville, the 1985 Congreso Nacional de Actividades Flamencas in Huelva and the 1986 national competition in Córdoba.
After Arte flamenco de Matilde Coral , 11 years would pass before Matilde Coral went public again with a big play: In May 1987 she presented the ballet Algarabía in Seville. It was her first attempt to create an official Andalusian ballet, under the auspices and with financial support from the autonomous region. Another attempt in this regard was the founding of the Escuela de Baile Andaluz two years later . She and Juan Morilla selected the 33 dancers and selected Ana María Bueno and Diego Llori for the leading roles. The opening program of 1989 consisted of Fantasía de Carmen based on Georges Bizet and Sinfonía Sevillana based on Joaquín Turina . The series of dance numbers was applauded by the admirers of Matilde Coral and Juan Morilla; however, they did not achieve their goal of being supported by public institutions.
Further public appearances followed in 1992 at the celebration of homage to Antonio Mairena and at the Festival del Cante de las Minas in La Unión in 2003. Other important honors with which she was awarded include:
- She received the award at Potaje Gitano in Utrera in 1983;
- the Gold Medal of the City of Seville 1985;
- the nomination as Trianera of the year 1988;
- the gold medal of the city of Nîmes in 1994;
- the Compás de Cante 1996;
- the award at the Semana de Estudios Flamencos in Jaén 1999;
- the award at the Seville Biennale in 2000;
- the Premio Demófilo 2000;
- the gold medal of Andalusia 2001.
Style and work as a teacher
The critic José Luis Navarro García emphasizes the feminine elegance of her movements. In a sense, she uses her flamenco dress as an extension of her own body. She used her arms and hands with the same naturalness and elegance. Their dance is majestic, solemn, from that nimble slowness that makes the audience speechless partly and partly to passionate Olé enraptures shouts. Her dance is to a certain extent the quintessence of female dance: with the emphasis on the use of arms and hands, with a distinctive, but never shrill beat. This style is known throughout the flamenco community as the Sevillian style, thanks to Matilde Coral. It is her academy in Triana, where this style is taught and upheld.
Her students include Cristina Hoyos , Pepa Montes , Rubén Olmo , Manolo Marín , José Galván , Aurora Vargas , Ricardo Miño , Amador Rojas , Eduardo Leal and Patricia Vela .
family
Matilde Coral is married to the dancer Rafael el Negro. She has three children: Rafael, Rocío and María.
References and comments
- ↑ a b c d Matilde Coral. In: El arte de vivir el flamenco. Retrieved June 18, 2017 (Spanish).
- ↑ Coral | Spanish German. In: PONS Online. Retrieved June 18, 2017 (“Coral” means both “choir” and “coral” in Spanish).
- ^ "Trini España era mi miedo y yo el de ella"
- ↑ Rafael Utrera Macías: 'A través del flamenco. Un ran especual para televisión de Claudio Guerin Hill '. In: https://www.juntadeandalucia.es/ . Junta de Andalucía, 2009, accessed on December 31, 2017 (Spanish, original source: La nueva Alboreá , nº 11, July – Sept. 2009, pp. 46–47).
- ↑ Not identical with Juan Manuel Fernández Montoya , also called Farruquito
- ↑ Golden key
- ↑ not identical to Lola Flores
- ↑ algarabía [alɣaraˈβia] NOUN f. In: PONS online. Retrieved December 30, 2017 (Spanish: nagging, shouting ).
- ↑ sic: "alada lentitud". An oxymoron penned by the critic
| personal data | |
|---|---|
| SURNAME | Coral, Matilde |
| ALTERNATIVE NAMES | Corrales González, Matilde Corrales González |
| BRIEF DESCRIPTION | Spanish flamenco dancer and teacher |
| DATE OF BIRTH | June 22, 1935 |
| PLACE OF BIRTH | Triana |