ROSARIO LA TREMENDITA: Guitar is a perfect work instrument for a cantaor
http://www.flamenco-world.com/artists/tremendita/tremendita08092009.htm
1.
生在 Triana,祖母父親都是歌手，從小跟著父親一起去 fiesta....一開始只是遊戲，後來變成我的專業，然後事情就不太好玩了…
2.
是我父親把吉他放到我手裡的，現在吉他是我工作跟研究的一項工具。
一開始他並沒有強迫我，可是到高中的時候，他比較嚴格一點，每天練幾個小時的琴，週末時，別的女孩都去玩，我得去參加 pena 的比賽。我常常週間要準備學校的考試，週末要準備 pena 的歌唱考試……那是我最不喜歡的一段日子，不是個十幾歲小女孩能輕鬆面對的。
3.
比賽是好的，因為比賽會強迫我練習。可是比賽太多了。
現在上台表演是表現自己、是表演藝術，但是歌唱比賽，大部分重點就是「技巧」。………有次比完我跟我爸說清楚了，這是最後一個比賽，好在我那一場贏了 Manolo Caracol 獎，以此開始職業生涯。
4.
家庭，triana
5.
講他學習的 flamenco 歌手，Mairena 的 seguiriya, Caracol, Pepe Marchena 的 milonga 跟 taranto 那些……爭那個歌手好不好的沒甚麼意思，有人這項強有人那樣棒，就都學。
I’ll take Manolo Caracol with his so anarchic cante but with so much taste, Antonio Mairena, Escacena, El Mochuelo…
I like to listen to everybody: Marchena’s milongas and cantes de Levante, Mairena’s seguiriyas and soleá, La Niña de los Peines’ such nice cantes abandolaos... That’s my way of working; depending on the cante I want to study, I go to the base and the closest recording to the cantaor who did it. Of the more modern ones, I love Camarón, El Pele…
For example, I took the vidalita I do in Carlos Saura’s show from Vallejo and he took it from Gardel, since it’s an Argentinean tango.
6.
7.
繼續講他學的對象
The guajira I do with Rocío, she asked me where I’d gotten it from. And I took it from the oldest stuff, from El Mochuelo, from La Rubia de Málaga, from when flamenco, more than flamenco, seemed like Spanish folklore.
8.
每天早上彈吉他
9.
然後上 youtube.
在這之前，人們要學一些歌，得大老遠跑到一個天殺的小鎮，尋找某個小老頭…
Laptop computers, Youtube… those things are brilliant. Now it’s really easy. Before people used to go to a godforsaken lost town to look for a little old man…
10.
學吉他帶給我音樂的廣度，一開始很難，有音階跟技巧。
喜歡爵士、喜歡傳統民謠
I like guitar more than cante.
And the thing is that guitar gives me a lot of scope.
Starting with guitar is uncomfortable because there are scales, technique… but once you already have that, guitar is the perfect work instrument for any cantaor.
I love jazz. I’m mixed up all day long in the business of those people’s improvisation. I also like traditional music; in Spanish folklore there’s a lot to search for and it’s very close to us. I’ve bought myself the ‘Magna Antología del Folklore’
我跟 Marin 一起作 Asimetrais, 我敬愛他因為，他除了舞跳得好，歌也唱得比我還好。
他作了超多的研究，當我找不到甚麼資料我就打電話給他，而他身邊總是有最棒的樂手。
I’ve done ‘Asimetrías’ with Andrés Marín, a show which I love and I love him because besides his baile, he sings better than me, he does a great deal of research - in fact, when I can’t find something I call him - and he surrounds himself with really good musicians.
(好像是說過"外國人不配教/作flamenco" 的 Marin 啊)(不過這一篇說法好像並不是如此，search "foreigners" on the page)
列舉出他看到新的 flamenco音樂的方向？
不要再作 Camaron 了，他能被學的都學光了、而且他無法被超越。
另外還有 Enrique Morente…（可惜他最近也「無法被超越」了。）
In that project colleagues from a new generation of flamencos coincide. How do you size up the panorama around you?
there’s a lot of restlessness and a lot of desire to do things. Jesús Méndez is a great cantaor. I don’t know how old he is but that face and that body don’t go with that voice, ha ha ha ha. Encarna Anillo, a great cantaora like her brother José, is also very restless and really wants to train.
We’ve also gone beyond Camarón’s period. I love him, but I’d never take anything of his because his stuff is already done and it’s unsurpassable;
And we know Camarón’s there, but Enrique Morente is also there on the other hand, and it seems like they have to go in different directions and I think they go together.
1.
生在 Triana,祖母父親都是歌手，從小跟著父親一起去 fiesta....一開始只是遊戲，後來變成我的專業，然後事情就不太好玩了…
2.
是我父親把吉他放到我手裡的，現在吉他是我工作跟研究的一項工具。
一開始他並沒有強迫我，可是到高中的時候，他比較嚴格一點，每天練幾個小時的琴，週末時，別的女孩都去玩，我得去參加 pena 的比賽。我常常週間要準備學校的考試，週末要準備 pena 的歌唱考試……那是我最不喜歡的一段日子，不是個十幾歲小女孩能輕鬆面對的。
3.
比賽是好的，因為比賽會強迫我練習。可是比賽太多了。
現在上台表演是表現自己、是表演藝術，但是歌唱比賽，大部分重點就是「技巧」。………有次比完我跟我爸說清楚了，這是最後一個比賽，好在我那一場贏了 Manolo Caracol 獎，以此開始職業生涯。
4.
家庭，triana
5.
講他學習的 flamenco 歌手，Mairena 的 seguiriya, Caracol, Pepe Marchena 的 milonga 跟 taranto 那些……爭那個歌手好不好的沒甚麼意思，有人這項強有人那樣棒，就都學。
I’ll take Manolo Caracol with his so anarchic cante but with so much taste, Antonio Mairena, Escacena, El Mochuelo…
I like to listen to everybody: Marchena’s milongas and cantes de Levante, Mairena’s seguiriyas and soleá, La Niña de los Peines’ such nice cantes abandolaos... That’s my way of working; depending on the cante I want to study, I go to the base and the closest recording to the cantaor who did it. Of the more modern ones, I love Camarón, El Pele…
For example, I took the vidalita I do in Carlos Saura’s show from Vallejo and he took it from Gardel, since it’s an Argentinean tango.
6.
7.
繼續講他學的對象
The guajira I do with Rocío, she asked me where I’d gotten it from. And I took it from the oldest stuff, from El Mochuelo, from La Rubia de Málaga, from when flamenco, more than flamenco, seemed like Spanish folklore.
8.
每天早上彈吉他
And is it true that you have a daily routine with your computer, your records, your guitar?
I get up, have breakfast and grab my guitar.9.
然後上 youtube.
在這之前，人們要學一些歌，得大老遠跑到一個天殺的小鎮，尋找某個小老頭…
Laptop computers, Youtube… those things are brilliant. Now it’s really easy. Before people used to go to a godforsaken lost town to look for a little old man…
10.
學吉他帶給我音樂的廣度，一開始很難，有音階跟技巧。
喜歡爵士、喜歡傳統民謠
I like guitar more than cante.
And the thing is that guitar gives me a lot of scope.
Starting with guitar is uncomfortable because there are scales, technique… but once you already have that, guitar is the perfect work instrument for any cantaor.
I love jazz. I’m mixed up all day long in the business of those people’s improvisation. I also like traditional music; in Spanish folklore there’s a lot to search for and it’s very close to us. I’ve bought myself the ‘Magna Antología del Folklore’
我跟 Marin 一起作 Asimetrais, 我敬愛他因為，他除了舞跳得好，歌也唱得比我還好。
他作了超多的研究，當我找不到甚麼資料我就打電話給他，而他身邊總是有最棒的樂手。
I’ve done ‘Asimetrías’ with Andrés Marín, a show which I love and I love him because besides his baile, he sings better than me, he does a great deal of research - in fact, when I can’t find something I call him - and he surrounds himself with really good musicians.
(好像是說過"外國人不配教/作flamenco" 的 Marin 啊)(不過這一篇說法好像並不是如此，search "foreigners" on the page)
列舉出他看到新的 flamenco音樂的方向？
不要再作 Camaron 了，他能被學的都學光了、而且他無法被超越。
另外還有 Enrique Morente…（可惜他最近也「無法被超越」了。）
In that project colleagues from a new generation of flamencos coincide. How do you size up the panorama around you?
there’s a lot of restlessness and a lot of desire to do things. Jesús Méndez is a great cantaor. I don’t know how old he is but that face and that body don’t go with that voice, ha ha ha ha. Encarna Anillo, a great cantaora like her brother José, is also very restless and really wants to train.
We’ve also gone beyond Camarón’s period. I love him, but I’d never take anything of his because his stuff is already done and it’s unsurpassable;
And we know Camarón’s there, but Enrique Morente is also there on the other hand, and it seems like they have to go in different directions and I think they go together.
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