Introduction

“Many pages would be needed to narrate Adela Campallo’s baile por soleá”
Manuel Bohórquez, flamenco critic

Esthetics, personality, strength and emotion are the keys to ‘7 de mayo’, the new show by Adela Campallo, a key figure of today’s flamenco dancing. The Sevillian bailaora starts from a specific date in her biography, the day she gave birth to her son Manuel, to capture her feelings of maternity in the shape of dancing and flamenco music. The lullaby as a starting and finishing point, and the soleá as the core, are the pillars which support this large-scale show in which the star’s baile, as much of air as of earth, is accompanied by two bailaoras, original music by Juan Campallo and David Vargas, and lighting design by Óscar de los Reyes. Together, they put together a show in which the inspiration comes from within: “The encounter with his life makes me fly over the stage”.

Synopsis

‘7 de mayo’ hatches from the purest and truest thing in the world: giving birth, giving life to the most important being in my life and in so doing, enlivening my life, my surroundings, my dancing…

The show’s lines are elegant with different forms of expression, with some bell strokes and the common thread which constantly remind one of a date: May 7th.

The bata appears with the first bells, the lullaby sounds with gentle melodies and delicate movements…

“…hope is born flooded with the glow which lights up my life, there… there… my Manué…”

A tempo of three takes this lullaby towards graceful lyrics por alegrías which lead to a fandango.

Once again bells ring, announcing a transition in time and airs where the lighting plays a lead role, managing never to fade out completely and maintaining a fine warm ambience throughout the show.

A carefree feminine seguirilla qualifies old-time airs, lets more groundbreaking baile be seen, with character, where the footwork grows in importance in succulent shuffling which mixes the most vintage melody with current times.

This time the bells pave the way to pick up the baile… it disappears, giving way to a musical theme with dancing lights.

The appearances of two bailaoras are sparkles on stage, seeking the contrast of everything that is seen and is heard dancing with shawls and rocking the music por alegrías.

The Soleá. A long-established baile where words don’t count; it can only be described with the body, guitar, cante and feelings…

She finishes slowly, with a serene, mellow countenance… so that the bata once again takes the lead, recalling and rocking with that lullaby ingredients experienced on May 7th; it acts as a cradle, it puts Manuel to sleep to the sound of bells…

“…bowels of mine, take the light away from me
If you need it…
there… there… My Manué…”

Credits

Artistic Director
Adela Campallo

Artistic Consultant
Javier Barón

Choreography
Adela Campallo / Tangos: Rafael Campallo

Dance Corps
María Moreno and Aroha Barea

Cante
Jeromo Segura and Javier Rivera

Guitar
Juan Campallo and David Vargas

Percussion
José Carrasco

Guest Artist
José Valencia

Musical Composing
Juan Campallo and David Vargas

Lighting Design
Óscar Gómez

Program

• Nana

• Martinete

• Segruiriya

• Solo musical

• Alegrías

• Taranto

• Tangos

• Soleá

• Nana

Vídeos

Fotos

Click the images to enlarge

Biography

Adela Campallo (Seville, 1977). Bailaora

Adela Campallo is born in the Sevillian neighborhood of Cerro del Águila in the bosom of a family with flamenco tradition. In fact, it is in the group formed by her parents, La Familia Campallo (The Campallo Family), where she makes her début at the mere age of nine. She received training at the hands of maestros like José Galván and Manolo Marín. She comes across the chance to measure her worth on reaching the finals of the Young Performers Contest of Seville's 2002 Bienal. From that season on, she begins close collaboration with the Antonio Canales Company, which she is a soloist in.

Then in 2004, she premieres the show ‘Campallerías’ together with her brother, the also bailaor Rafael Campallo, at Seville's Sala Joaquín Turina. The show was later performed again at events such as Festival de Jerez 2003. Shortly thereafter, she performs solo at the Teatro Central in Seville.

Adela Campallo joined the Javier Latorre Company in the show ‘Rinconete y Cortadillo’, performed at Córdoba's Gran Teatro, Seville's Teatro Lope de Vega and Jerez's Teatro Villamarta, among other venues. She also collaborated with the Farruquito Company in ‘Alma vieja’, which premiered at the 2003 Mont de Marsan Festival, and the Andrés Marín Company in ‘Más allá del tiempo’.

In September 2005, she closed the 7th Muestra Andaluza de Baile Flamenco (Andalusian Flamenco Dancing Showcase) at the emblematic stage Corral del Carbón in Granada. Two months later, she takes part in the inaugural gala of the Flamenco Viene del Sur (Flamenco Comes from the South) Series 2005/2006 at Seville's Teatro Central, participating in the show ‘Otra generación’, directed by José Miguel Évora.

Adela Campallo, a reputed instructor, has already left a recorded display of her baile in the didactic collection ‘Ritmo Flamenco Rhythm’. With a view to 2006, the Sevillian bailaora takes part in Flamenco Festival USA and Festival de Jerez, performing in the Gala de Andalucía.

Her most recent work is highlighted by the recording of an audiovisual for the U.S. audio firm BOSE with Juan Diego and Ángel Muñoz; and her collaboration as guest artist in Rafael Campallo’s show ‘Puente de Triana’, premiered at the 2009 Mont de Marsan Flamenco Festival. Solo, she tackles the 2009/2010 season with two productions; ‘7 de mayo’ and a show with a traditional format.

Press

EL CORREO DE ANDALUCÍA
July 2009
“Many pages would be needed to narrate the baile por soleá of Adela Campallo, Rafael’s sister. She did it long but scarcely repeating movements, poses and strolls; she touched up each phase of good cante by Jeromo, Javier Rivera and David Lagos; and she made it clear that you can only dance por soleá like that if you’re from Seville”

ABC
February 2007
“Adela Campallo is a bailaora at a magnificent moment of creation. Her soleá por bulerías was a reason for connection to that school where the heel tapping and arm movement unite naturally and not in an imposed way”

IDEAL
August 2006
“With this way of dancing in which the strength of legs and feet is demonstrated, she broke the cliché which dictates that in Seville you only dance with your arms. Her baile, laden with drive, passion and spirit, enthused the audience, who rewarded her with prolonged applause when she finished her performance”

20MINUTOS
August 2006
“The Sevillian bailaora closes the program of the 7th Andalusian Flamenco Dancing Showcase, at the emblematic stage of the Corral del Carbón”

FLAMENCO-WORLD.COM
February 2006
“Adela Campallo had the difficult task of facing the audience following the maestra's appearance. But, thanks to the difference, she managed to pass the test with flying colors. Old-fashioned Jerez cante. Jesús Méndez through seguiriyas. The Sevillian bailaora relaxes her arm movement, the language of her hips, her beautiful figure. And when landing, when striking and being vehement, she closes the circle as a complete bailaora and in full swing of maturing.”

Booking

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