El Tiempo Por Testigo: A Sevilla

Description

(...) The easy thing (and necessary) is to resort to the genes when referring to Dorantes. Nothing has been more determining in his career than the family where he was born. The Pinini, the Perrata, the Lebrijano, Pedro Bacán or Pedro Peña are not invented names. He was in front of the house with a huge musical garden and escaped through the back door to an unknown wasteland. There he sought to be different for the whole culture, because the ancient pianos of Jose Romero and Arturo Pavón were valid references but far from his horizon. Today, in addition to his privileged blood, it will be unfair not to emphasize his effort (his rebellion?) to twist the roads and build a monument for the flamenco: his piano. In 20 years of career, it is possible to imagine many afternoons of listeners standing up but also of hours of silent work and incomprehension to become one of the most moving artists of the Spanish music. Let's go for many years more. Do not stop the music. (David Calzado, Journalist and cultural manager. Collaborator in the ABC journal.)