![]() ![]() The childhood of Federico García Lorca and flamencoįrom an early age, Lorca was related to flamenco. Morente becomes a great genius renovator of cante jondo. ![]() For bulerías, in Negra, si tú supieras, and so on and so forth. Later, in Omega and Lorca, he adapted texts from Poeta en Nueva York. In Calle Real he adapts the Romance de la luna, luna.Įnrique Morente, back in 1972, adapted fragments of Doña rosita la Soltera for tangos in his work El lenguaje de las flores. ![]() ![]() Following the trend, Soy Gitano includes Romance de Thamar y Amnón, Casida de las palomas oscuras and a new version of Nana del caballo grande. But the artists who have drunk most from Lorca's source are, undoubtedly, Enrique Morente and Camarón de la Isla.Ĭamarón adapts several of Lorca's poems in La leyenda del tiempo: Mi niña se fue a la mar, Romance del Amargo, Homenaje a Federico, Nana del caballo grande and the title song. This interest was born with the recording of popular songs by 'La Argentinita' with Federico himself, some of which were later adapted by Pepe Marchena or 'La Niña de los Peines'. As a result of this link of the poet from Granada with the 'jondo', the world of flamenco has always been attracted by Lorca's texts. ![]()
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