Lola Flores, 100 years of living flamenco history
May 23, 2023
Discover eight fascinating facts about flamenco
June 16, 2023In this article we want to pay tribute to some of the most important flamenco singers in the history of flamenco. All of them have been geniuses of flamenco, either for their singing ability, for their flamenco lyrics, for their interpretation or for their style, marking a historical milestone, a school or a personal style that has influenced later generations.
The 10 most recognized flamenco singers of all time.
Pastora Pavón - La niña de los Peines (The girl of the combs)
Pastora Pavón, known as La niña de los Peines, is considered the most famous flamenco singer in history. Born in Seville in 1890, she came from a family of cantaores: the best known being her brothers, Tomás and Arturo Pavón.
Her extraordinary talent stood out from an early age, being her debut at only eight years old with her brother Arturo at the Feria de Sevilla, and at thirteen, performing in Madrid at the Café del Brillante, which marked the beginning of her consecration as a flamenco singer.
During her career, she was linked to figures such as Manuel de Falla, Federico García Lorca and La Argentinita, whom she met at the time of her greatest success.
In 1922, Manuel de Falla and the painter Ignacio Zuloaga invited her to participate as a jury member in the Cante Jondo Contest in Granada. During that time, García Lorca met her and was deeply impressed by her art. Lorca praised her talent, describing her as a 'master of moans' and an exceptional voice that broke with the conventions of flamenco singing.
Subsequently, Pastora Pavón continued to perform in various cities and recorded her first albums in 1910. In the forties, la Niña de los Peines popularized a cante she called 'Lorqueñas', possibly inspired by the memory of Federico García Lorca.
During the Civil War, she took refuge in Madrid with her partner José Torres Garzón, known as Pepe Pinto. After the war, she joined Concha Piquer's company and temporarily retired from the stage for a few years. She returned in 1940 with the premiere in Seville of 'España con su cantaora'.
La Niña de los Peines' recordings consist of 355 recordings with 258 cantes, and have been declared an Asset of Cultural Interest by the Government of Andalusia.
Manolo Caracol
Manolo Caracol, whose real name was Manuel Ortega, was a renowned flamenco singer born in Seville in 1909 in the bosom of a long-standing dynasty to which belonged dozens of renowned singers and bullfighters, such as El Planeta, Enrique El Gordo Viejo, El Águila or his father, Manuel Fernández, Caracol el del Bulto, which allowed him to be trained in an environment conducive to his vocation.
Manolo Caracol began his career very young and his first triumph was when he was only 11 years old at the 1922 Concurso de Cante Jondo in the Plaza de los Aljibes in Granada, organized by Manuel de Falla, Ignacio Zuloaga and Federico García Lorca, among others.
In Granada, he won the first prize shared with Diego Bermúdez, El Tenazas, a 68-year-old cantaor from Morón. Caracol fascinated the jury and the public with his singing and his youth.
After his success in Granada, Manolo Caracol joined show companies and performed at the Teatro Reina Victoria in Seville and at the Teatro Centro in Madrid. In 1925 he participated in another singing contest with La Niña de los Peines, Pepe Marchena and El Cojo de Málaga. In 1930, he married and recorded his first album.
After the Spanish Civil War, he was part of the show "Cuatro faraones" with El Sevillano, Juanito Valderrama and Pepe Pinto. In 1943, he began one of his most successful collaborations with Lola Flores, creating the show 'Zambra', based on music by Quintero, León and Quiroga, which they performed until 1951.
After the end of his artistic relationship with Lola Flores, he undertook a tour of America with the dancer and choreographer Pilar López Júlvez, sister of La Argentinita. In 1963, he founded the tablao Los Canasteros in Madrid, where he dedicated himself completely for the rest of his life and where the most renowned flamenco artists performed.
In 1972, he released his last album and, the following year, on February 24, 1973, he died in a car accident on his way from his home in Madrid to Los Canasteros. His death caused a great commotion and numerous acts of recognition and tribute were held in his honor.
Camarón de la Isla
Camarón de la Isla, whose real name was José Monge Cruz, was one of the most influential and revolutionary flamenco singers of all time. Born on December 5, 1950 in San Fernando, Cadiz, Spain, Camarón came from a gypsy family with a long tradition of flamenco singing. From a very young age, he demonstrated an exceptional talent for singing, becoming a child prodigy and beginning his artistic career at an early age.
As he grew and developed his style, Camarón showed an extraordinary ability to express the deepest emotions through his voice. In the 1960s, he began to stand out in the world of flamenco and quickly became a recognized figure in the music scene. However, it was in the 1970s when Camarón began to break with the established patterns of flamenco and revolutionize the genre.
In collaboration with the brilliant guitarist Paco de Lucía, Camarón introduced musical innovations and fusions that gave a new impulse to flamenco. Together, they created a close artistic relationship and a unique complicity that allowed them to explore new paths and expand the boundaries of the genre. Their collaborations resulted in landmark albums such as 'Canciones andaluzas para dos guitarras' and 'Al Verte las flores lloran'.
In 1979, Camarón released his most iconic and groundbreaking album, 'La leyenda del tiempo'. This album, produced by Ricardo Pachón, was a true revolution in flamenco, incorporating elements of rock, jazz and contemporary music. Although it was initially met with controversy and skepticism from flamenco purists, over time it has been recognized as a masterpiece and one of the most important albums in the history of the genre.
From then on, Camarón continued to experiment and explore new sounds and styles, seeking to broaden flamenco's audience and bring it to a wider public. Despite criticism and resistance, his charisma, genius and vocal virtuosity allowed him to become a true flamenco legend and transcend cultural and geographical barriers.
However, Camarón's life was not all success. Throughout his career, he struggled with a drug addiction that affected his health and personal stability. In addition, in 1986 he suffered a serious traffic accident that left him temporarily paralyzed. Despite these obstacles, Camarón recovered and continued his career, touring and recording new albums.
Tragically, his life was cut short prematurely on July 2, 1992, when he passed away at the age of 41 due to lung cancer. The news of his death shocked the music world and left an irreplaceable void in flamenco. Despite his early departure, Camarón's legacy endures to this day. His influence has been fundamental to the development and evolution of flamenco, and his voice remains an unparalleled reference for new generations of singers and aficionados of the genre.
Enrique Morente
Enrique Morente, Spanish flamenco singer born in Granada in 1943, is considered one of the main renovators of the genre. He began his artistic career at a very early age, singing in taverns in Granada, and then moved to Madrid during his adolescence to immerse himself in the flamenco environments of the capital. There he learned from the old cantaores, such as Pepe el de la Matrona, Manolo de Huelva or Bernardo el de los Lobitos. In those years, Enrique Morente was known as Enrique el Granaíno. From the 1960s, when he began to make his debut, he acquired fame as one of the most solid artists of young flamenco and became one of the most complete flamenco singers.
His first recording was 'Cante Flamenco' in 1969. With a wide vocal register and a very personal voice, he was looking for new forms for flamenco in traditional styles. Passionate about poetry, he incorporated texts by various Spanish authors into his flamenco singing, such as Miguel Hernández, Antonio Machado, Jorge Guillén, San Juan de la Cruz, Lope de Vega and José Bergamín. He even adapted some songs by Canadian singer-songwriter Leonard Cohen to flamenco.
He composed pieces for theater, film and television, and his versatility and creativity led him to create fusions between cultured music and flamenco or even rock, such as the album 'Omega' that he recorded in 1996 with the group Lagartija Nick, which fused these disciplines. In 1998, he published 'Lorca', a tribute to the Granada poet Federico García Lorca. In 'El Pequeño reloj' (2003), he gave voice to the poems of Francisco de Quevedo, Gustavo Adolfo Bécquer and León Felipe, fusing them with rhythms as disparate as those of Sephardic music, jazz or the symphonies of Ludwig van Beethoven. In September 2005, he presented a very personal work, 'Morente sueña la Alhambra', a poetic and culturally rich vision of the Nasrid monument and the images inspired by the city of Granada.
Enrique Morente's career was recognized with several awards, such as the Premio del Cante de la Cátedra de Flamencología de Jerez in 1972, the Premio Nacional de Música Popular in 1978 and the Premio Nacional de Música in 1995. Although his evolution was considered heretical by some, his work exerted a strong influence and had numerous followers. Enrique Morente is one of the flamenco singers who has contributed the most to the renewal and opening of flamenco without losing its traditional elements.
Pepe Pinto
Pepe Pinto, whose real name was José Torres Garzón, was a renowned cantaor payo born in Seville in 1903 and died on November 6, 1969 due to an intestinal hemorrhage. He married Pastora Pavón, known as Niña de los Peines, in 1931 in the Macarena neighborhood of Seville.
Although he did not dedicate himself professionally to flamenco until 1927, Pepe Pinto made his first recordings and artistic tours shortly thereafter. La Niña de los Peines hired him for a show at the Teatro del Duque in Seville, which also featured Los Chavalillos Sevillanos, a dance couple formed by Rosario and Antonio. Pepe Pinto and Niña de los Peines toured Spain with a flamenco opera group organized by the impresario Vedrines in 1932, and would repeat the tour in 1935 with the collaboration of Pepe Marchena, and in later years with other artists such as El Sevillano and Canalejas de Puerto Real.
From 1939 onwards, Pepe Pinto continued to tour throughout Spain with different artistic groups. In 1940, he participated in the Andalusian show 'Las calles de Cádiz' starring the singer Concha Piquer. For several years he presented his show 'Solera de España' in the main theaters, premiering in 1949 'España y su Cantaora' where Niña de los Peines reappeared. In the fifties, his shows included titles such as 'Del Corazón a los Labios', 'Escalera de Canciones' and 'Así Canta Andalucía', and in the sixties he presented 'Ronda de domingo', "¡Tele y ele!' and 'Coplas y toros', in most of them accompanied by La Niña de Antequera and Juanito Valderrama.
Pepe Pinto stood out for putting soul and feeling in all the songs, even crying on some occasions while singing. His style was liked for his grandiose way of interpreting. He was recognized for his versatility in his repertoire and his ability to transmit emotions through basic cantes, as well as his personal fandangos and flamenco songs. He also became popular for including recitations in some of his creations.
Throughout his career, Pepe Pinto was well received in different parts of Spain, earning recognition as a great master of cante. He was also known for his friendship with other outstanding singers of the time. Pepe Pinto knew how to market his records, like other artists such as Juan Varea and Manolo Caracol, to ensure his economic livelihood, although the most important thing was his ability to sing well and transmit the cante to the true aficionados.
Rancapino
Rancapino, artistic name of Alonso Núñez Núñez, is a renowned flamenco singer born in Chiclana de la Frontera (Cádiz) in 1945. Descendant of a renowned family in flamenco, he is the grandson of 'La Obispa' and brother of 'Orillo del Puerto'.
Rancapino began his career singing at La Venta Vargas, alongside the iconic figure of Camarón de la Isla, with whom he maintained a deep friendship, and under the tutelage of Aurelio de Cádiz. Later, he performed in tablaos in Madrid and toured France and Japan. The cantaor acknowledges Manolo Caracol and Camarón as his greatest influences in emotional terms, while he considers Aurelio de Cádiz as his stylistic reference.
In 1977, Rancapino won the Enrique El Mellizo prize at the National Flamenco Art Contest of Cordoba, which allowed him to be part of the Andalusian flamenco festivals, where he has established himself as one of the main figures. He has also been an undisputed winner of the Madrid Flamenco Festival.
His art has been widely praised by prominent critics and flamenco scholars. Rancapino is going through a splendid artistic moment. While he is known for his extraordinary talent for siguiriyas, soleares and malagueñas, the taranto also occupies a prominent place in his repertoire. The Peña Flamenca El Taranto de Almería awarded him the prestigious Lucas López Prize, one of the most important awards in flamenco today.
After more than twenty years without releasing an album, Rancapino has recently published his new album, entitled 'Rancapino' (Turner Records), in which he has the exceptional guitar of Paco Cepero. In this album, we can once again appreciate his pure and deep singing, which is rooted in the most authentic traditions of flamenco.
La Paquera de Jerez
La Paquera de Jerez, artistic name of Francisca Méndez Garrido (1934-2004), was an outstanding Spanish singer born in Jerez de la Frontera, Cádiz, one of the most prolific cities in terms of flamenco artists. Hailing from the renowned Méndez family of the San Miguel neighborhood, La Paquera demonstrated from an early age her innate talent for flamenco singing.
With a powerful voice, dazzling charisma and great ability to captivate audiences, La Paquera began delighting audiences at the age of seventeen. Later, she moved to Madrid, where she found her livelihood in the famous tablaos of the capital. She excelled at the emblematic tablao Los Canasteros, owned by Manolo Caracol.
In her heyday, she was considered one of the most prominent figures of Cádiz singing. Although she specialized in styles such as bulerías and fandangos, she also shone in tientos, tangos, saetas and bulerías por soleá. In addition to his outstanding singing career, he participated in numerous theatrical performances and ventured into cinema. Among his awards are the Popular prize of the Diario Pueblo (1964) and the Reina de la Bulería (1971).
In 2002, at the age of 67, he made a successful trip to Japan, where he left an indelible mark. His experience in the Asian country was documented by the anthropologist and flamenco critic Fernando González-Caballos, who presented the film at the Festival del Cante de las Minas de La Unión.
After her death, La Paquera received an emotional posthumous tribute, with hundreds of fans and numerous artists paying tribute to her at her burial, highlighting the importance and legacy of this great Jerez-born singer.
El Torta
Juan Moneo Lara, known as 'El Torta', is an outstanding singer born in Jerez de la Frontera, Cadiz, in 1952. Coming from a family of renowned artists, being brother of the also singer Manuel Moneo and uncle of 'El Barullo' and the dancer of our tablao Gema Moneo, Juan Moneo carries in his blood the flamenco art. Although he shows his preference for singing in parties and peñas, more than for studio recordings, 'El Torta' has collaborated since 1991 with the collection 'Flamenco Vivo', being his album 'Colores Morenos' that presents him as a soloist singer.
With a strong and quite peculiar personality, 'El Torta' has many followers who appreciate the spontaneity of his live performances, as well as his brilliant voice and his sense of rhythm and meter. He stands out for his commitment to the study of flamenco art and the recovery of singing styles that had been lost. In 1972, he won the Soleares prize at the Mairena del Alcor Contest, which demonstrates his ability and dedication to the genre.
The artistic legacy of Juan Moneo 'El Torta', is admired both for its authenticity and for his contribution to the preservation and evolution of flamenco. His live performances are a unique and captivating experience for his fans, who value his passion and dedication to flamenco singing.
The Pearl of Cadiz
Antonia Gilabert Vargas, better known as 'La Perla de Cádiz', was an outstanding gypsy singer born in Cádiz in 1925 and died in the same city in 1975. Her voice was one of the most emblematic in the world of flamenco singing, standing out in styles such as alegrías, bulerías, soleares, tientos, tangos and saetas. Coming from a family of great artists, daughter of guitarist Juan Gilabert and singer Rosa Vargas Fernández (Rosa la Papera), La Perla inherited the talent of her parents and learned from them, as well as from the teachers who surrounded her at home.
La Perla's parents dedicated their lives to flamenco, participating in meetings, parties and performing in the most emblematic corners of Cadiz. Rosa la Papera already enjoyed an excellent reputation in the city, so much so that La Niña de los Peines refused to sing there, arguing that there was a gypsy that no one could surpass, referring, of course, to Rosa la Papera, La Perla's mother. La Perla inherited all that art and demonstrated it throughout her successful artistic career, being loved and admired by all flamenco fans, who appreciated her unique way of expressing the singing with the Cadiz flavor of her land.
In 1960, La Perla made her debut at the tablao Zambra in Madrid, sharing the stage with renowned singers such as Manolo Vargas, Pericón, Rafael Romero, Juan Varea, among others, which earned her great popularity. In 1962, he won the First Prize of Bulerías in the National Contest of Cantes de Jerez, which opened the doors of the Sevillian tablaos Los Gallos and El Guajiro. A year later, she returned to Madrid hired by Manolo Caracol for the opening of his own tablao, Los Canasteros, where she shared the bill with Fernando Terremoto and his niece María Vargas, accompanied by guitarists Melchor de Marchena and Paco Cepero.
In 1968, she opened her own tablao, the Venta Tablao (La Perla de Cai), located on the road to Puerto de Santa María, Valdelagrana, a place where the best artists of the time congregated. Despite her many commitments, La Perla was always an ambassador of the cantes de Cádiz and returned several times to Madrid with her inseparable husband, Curro la Gamba. Sadly, she passed away at a young age due to breast cancer, leaving a priceless legacy in the world of flamenco.
The sisters Fernanda and Bernarda de Utrera
Fernanda and Bernarda de Utrera, two gypsy flamenco singers, sisters and single women, who dedicated their lives to the cante jondo. As representatives of the first artistic generation of the Pinini, a family of butchers from Lebrija, they made history in the world of flamenco thanks to their caste, quejío, art, style and, above all, their magnificent voices.
Fernanda Jiménez Peña, born in 1923, and her sister Bernarda, born in 1927, possessed unique and soulful voices that conveyed the duende and quejío characteristic of flamenco, as seen in their record bearing the name 'Quejió'. Although their father, José, did not look favorably on his daughters becoming artists, fearing he would be considered a kept man, the Pinini sisters excelled in the world of flamenco singing from an early age.
As their reputation grew, great figures such as Mairena, Manolo Caracol, Juanito Valderrama and Lola Flores wanted to meet the two young women with the best voices in Utrera. Their talent led them to triumph in New York in 1964, during the World's Fair, which gave them the opportunity to participate in the album entitled 'El flamenco de Manuela Vargas' (1966), where they impressed with their spectacular tarantos and soleares.
Fernanda and Bernarda de Utrera represent the best of flamenco, art and strength united in a single duende. With their authenticity and unique style, they are a clear example of the best Spanish art, leaving an indelible legacy in the history of flamenco.
