Podcast Summary: Nuestro flamenco - Granada en las voces y guitarras de hoy (I)

Podcast: Nuestro Flamenco (Radio Clásica, RNE)
Host: José María Velázquez Gaztelu
Episode Date: December 17, 2025
Theme: A journey through Granada’s living flamenco — spotlights on contemporary singers, guitarists, and the local musical tradition.

Main Theme & Purpose

This episode inaugurates a two-part series dedicated to the current voices and guitars defining Granada’s flamenco scene. The program combines historical perspective, poetic reflection, and vibrant performances to explore the lineage, evolution, and emotional depth of flamenco as rooted in Granada, both through veteran icons and emerging talents.

Key Discussion Points & Insights

1. Introduction & Focus on Granada

• José María Velázquez Gaztelu frames the episode as a “musical journey” (01:00) after similar explorations of Cádiz and Jerez.
• Granada is introduced as a “land of flamenco par excellence,” with a deep, complex musical tradition shaped by its history and geography (14:36).

2. Guitaristic Prologue: Pepe Habichuela

• Legendary guitarist Pepe Habichuela is foregrounded as a symbol of Granada’s guitar lineage.
• Host links to recent scholarship about Habichuela, mentioning the book “Pepe Habichuela y Granada.”
• Two pieces highlight his artistry:
  • “Mi tierra granaina”
  • “El Drom” (with nephew Juan Habichuela, second guitar)—a fandango whose title means “the path” in Caló (01:40–11:25).

3. Showcasing Young Granada Voices

• Estrella Rodríguez Molina (Estrella de Manuela):
  • Performed “Malagueña con fandangos abandonados” from her debut album Abril, recorded at age 16 (12:09–14:36).
  • Host notes: “Este trabajo fresco y empapado de pureza, es un vivo ejemplo del talento arrebatador que posee y muestra de la nueva savia del siglo XXI.” — Antonio Canales (14:00).
  • Accompanied by guitarist Jesús de Rosario and percussionists.

4. Granada’s Living Flamenco Traditions

• The zambra (traditional Roma fiesta) is explained as a formative space for major artists like Los Habichuela, Los Cortés, and influential dancers and singers (14:52).
• Romantic-era travelers were enchanted by Granada’s flamenco, cementing its reputation.

5. Contemporary Star: Marina Heredia

• Described as a leading current voice, recognized beyond Granada (17:00).
• Signature performance:
  • “Tangos de Graná” (also called “Tangos del Camino”/“del Sacromonte”)
  • Notable lyric: “Yo soy la reina, ay, yo soy nada. Y si de mí te enamora la Alhambra, ya te daría.” (21:32)
  • Accompanied by guitarists Luis Mariano and José Quevedo “Bolita”; strong focus on collaborative energy among musicians (19:10–23:34).

6. Historical Context: The Granaína

• Scholar José Luis Navarro García’s insights:
  • Granaína began as a lively, danceable fandango central to Granada’s festivities (23:34).
  • Evolved through figures like Frasquito Yerbabuena and Don Antonio Chacón into a distinct flamenco style.

7. Artistry of Alfredo Tejada

• Malaga-born but Granada-based, Tejada exemplifies flamenco’s transmission and growth.
• Performance of “Granaína” live at Peña de la Platería (29:30–36:18):
  • Key lyric: “La mujer primera hizo Dios por un ensayo… la tuvo que hacer morena.” (29:30)
  • Demonstrates virtuosic dynamic between his voice and the guitar of Patrocinio Hijo.

8. Flamenco and Poetry: Carlos Cano & Estrella Morente

• Carlos Cano’s beloved “Habanera Imposible” is revisited, reflecting Granada's poetic and musical spirit (38:26–42:14).
• Quote: “Granada es como una rosa, más bonita que ninguna, que se duerme con el sol y florece con la luna...” — Carlos Cano (38:26)
• Estrella Morente adapts the piece to bulería with guitar by Vicente Amigo.

9. Symphonic Flamenco: "Allegro Soleá"

• Comparison of the original 1990 version by Enrique Morente and Antonio Robledo to a recent interpretation by Antonio Gómez El Turri with Orquesta Ciudad de Granada (44:53–54:28).
• Lyrics touch on themes of longing and resilience: “No llore ni tenga pena, corazón mío, no llore...” (46:10)

10. Closing: Fandangos del Albaicín (Marina Heredia)

• Marina Heredia closes with “Fandangos del Albaicín,” invoking the magic of Granada’s ancient neighborhoods (55:42–58:10).
• Expressive lyric painting a picture of place and longing: “Yo vivo en el Albaicín, orilla la plaza larga...” (56:43)

Notable Quotes & Memorable Moments

• On Flamenco Tradition:
  “Granada, tierra flamenca por excelencia, tierra musical desde tiempos remotos, desde aquellas primitivas danzas moriscas...”
  — Host, José María Velázquez Gaztelu (14:36)

• On New Talent:
  “Este trabajo fresco y empapado de pureza, es un vivo ejemplo del talento arrebatador que posee y muestra de la nueva savia del siglo XXI.”
  — Cited from Antonio Canales, about Estrella de Manuela (14:00)

• Poetic Granada:
  “Granada es como una rosa, más bonita que ninguna, que se duerme con el sol y florece con la luna, enamorada del agua, flor de la brisa...”
  — Carlos Cano (38:26)

• Flamenco’s Emotional Core:
  “No llore ni tenga pena, corazón mío, no llore, no llore ni tenga pena, que si tú pasas fatiga...”
  — Antonio Gómez El Turri (46:10)

Timestamps for Key Segments

| Time | Segment | Artists/Commentators | |-----------|--------------------------------------------------|----------------------------------------------| | 01:40 | Guitaristic prologue: “Mi tierra granaina”/“El Drom” | Pepe Habichuela, Juan Habichuela | | 12:09 | “Malagueña con fandangos abandonados” | Estrella de Manuela | | 17:00 | Tangos de Graná/ Camino | Marina Heredia, Luis Mariano, José Quevedo, etc. | | 23:34 | On the granaína’s evolution | Host & José Luis Navarro García | | 29:30 | Granaína – live at Peña de la Platería | Alfredo Tejada, Patrocinio Hijo | | 38:26 | “Habanera imposible” (Carlos Cano / Estrella Morente) | Carlos Cano, Estrella Morente, Vicente Amigo | | 44:53 | "Allegro Soleá" fragment | Antonio Gómez El Turri, Orquesta Ciudad de Granada | | 55:42 | “Fandangos del Albaicín” (closing) | Marina Heredia, José Quevedo |

Episode Flow & Engagement

The program seamlessly weaves live performance, expert commentary, historical frames, and poetic homage in an engaging, scholarly yet emotional tone. It invites listeners—aficionados and newcomers alike—on a rich tour through contemporary Granada flamenco, balancing reverence for tradition with excitement for its modern exponents.