Word: flamencos
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Fado is to Portugal what flamenco is to Spain, what the blues is to the U.S. (TIME, Feb. 7, 1964). Yet, unlike those widely exported musical forms, fado has been taken abroad successfully by only one singer: Amália Rodrigues. Last week, at the behest of Conductor Andre Kostelanetz, she made her U.S. concert debut with the New York Philharmonic as part of its summer Promenades series. Singing fado in the rich expanse of Philharmonic Hall-with the audience sitting at café tables sipping champagne and munching Fritos-seemed as out of place as singing spirituals...
...described last winter in Gstaad, Switzerland, made it sound like a perfect spring vacation. As Robin Duke, wife of U.S. Ambassador to Spain Angier Biddle Duke, pictured the annual fair in Seville, it was the essence of Spain, a six-day post-Lenten fiesta with superb bull fighting, Andalusian flamenco dancing all night long in the fair's tent village, colorful parades and a marvelous ball. What's more, the Duchess of Alba would be all too glad to have Jacqueline Kennedy as her guest...
...Grace disappeared in the powder room; Rainier drifted outside to have a smoke with the Duke of Medinaceli. It was Ambassador Duke who finally took Jackie by the arm and steered her through the throng of 2,500 guests toward one of the antechambers set aside for late-night flamenco. It was so packed that they never did get in. At 2:45 a.m., Ambassador Duke drove her home in Alba's Citroen...
...there were mule-drawn carriage rides through the gaily decked-out streets. By night, Jackie braved the crowds to see the flamenco dancers in the private casetas, or tents, set up on the outskirts of the city. By midweek, Garrigues had arrived from Rome to squire Jackie about Seville. Piling her into a car with two other guests of the Albas, Garrigues even managed to take Jackie on an incognita tour of the city, stopping off to visit the cathedral and the Alcázar without being recognized. Swinging into the spirit of the feria, Jackie donned the traditional comb...
SCARLATTI: 51 SONATAS (3 LPs; Cambridge). Harpsichordist Albert Fuller has made a representative but unhackneyed selection of 16 early, 17 middle and 18 late sonatas (though all were published after Scarlatti was 54). The pieces, paired like Bach's preludes and fugues, are miniature marvels-many with a flamenco flavor-and Fuller dashes them off with robust energy and vivid coloration. His interpretations, however, lack the poetry and variety that Fernando Valenti brings to Scarlatti. Valenti has recorded 29 LPs (346 sonatas), most of which are available on Westminster...