Download qasida. bio rosario “la tremendita”. bio mohammad motamedi.

QASIDA. Spanish poet Federico García Lorca described the cante jondo -­‐ deep flamenco song-­‐ as a ‘rare example of primitive song whose notes contain the naked and horrific emotion of the first oriental civilisations.’ A test of Lorca’s words might be the Qasida project, an extraordinary musical encounter between the young Sevillian cantaora Rosario ‘La Tremendita’ and her Iranian peer Mohammad Motamedi. In Qasida “La Tremendita” explores the roots of flamenco in the richly varied poetic songs and improvisations of Motamedi, the young rising star of Iranian classical music. Songs of Spanish folk poetry and Persian high art merge into a musical world in which the 'Al-­‐Andalus' of old is perhaps briefly revived. BIO ROSARIO “LA TREMENDITA”. Rosario Guerrero (Triana, 1984) is La Tremendita. Flamenca by tradition. A writer by vocation. An artist out of love. Her jondo quality is congenital. Her curiosity, acquired. Great grand-­‐daughter of Enriqueta la Pescaera, grand-­‐niece of La Gandinga de Triana and daughter of José El Tremendo, Rosario caught the singing on the fly and released it from an early age, in fiestas and peñas. Already then her aim was to become a singer, and above all, a lead singer. For this reason, she conducted her own research on flamenco singing, while studying music theory and piano. As she built knowledge, she developed her reputation in the most important competitions (Nacional de Córdoba, Antonio Mairena, La Unión) and she put her singing direction to the service of the most distinguished dancers (Belén Maya, Rocío Molina, Rafaela Carrasco, Andrés Marín). Singing for dance was another subject in her career and she passed with honours. In 2008, after six years collaborating with dance companies, Rosario eventually decided to capitalize on her artistic career: she invested in herself as a solo artist. This is how she definitely displays her most creative side: that of composer. Today La Tremendita offers and directs shows, and contributes her talent to the creativity of artists such as Rocío Molina or Javier Ruibal. Her first album (“A tiempo”, 2010) was her first great challenge. And it won’t be the only one. BIO MOHAMMAD MOTAMEDI. Mohammad Motamedi, born on September 24, 1978 in Iran. He has started learning singing and also playing Ney as self-­‐taught since adolescence. Since 1997, he started learning singing style of Seyed Hossein Taherzadeh by esteemed artist Hamidreza Noorbakhsh. Due to his interesting in Esfahan song school, he consequently has practiced and made into a role model from songs of masters such as Taj Esfahani & Adib Khansari and has benefitted from guidance of esteemed masters such as the late Dr. Hossein Omoumi and Aliasghar Shahzeidi” in this regard. He has activity in several bands so far, from which can indicate to Khorshid Ensembl – Sun Ensembl – (Majid Derakhshani), Hamnavazan-­‐e Sheida – Sheyda Ensembl – (Mohammadreza Lotfi), Iranian National Orchestra (Farhad Fakhreddini), Hamnavazan-­‐
e Mehr – Mehr Symphony – (founded by himself, Mohammad Motamedi). PRESS SAYS: “The Qasida project, one of the highlights of the third Netherlands Biennale, pursued a vital dialogue of traditions, involving the melismatic vocal techniques of Rosario La Tremendita and Mohammad Motamedi from Iran. The contrast between the sheer beauty of flamenco’s distilled, passionate outpourings of the heart and the more inward, mystical philosophies of Persian poetry met exquisitely in a host of styles that searched for common ground.” Songlines, UK "If this project goes beyond those structural contacts, it’s because of the search for a common emotional tone based on vocals. Something which is possible due to the compatibility between the two singers, comparisons aside." Flamencoworld.com, Spain La Tremendita is “a major asset. While using that strange, near-­‐hoarse flamenco sound, she can thrillingly swell or diminish a single steady note along strict bel canto lines to expressive effect, and then give a cascade of embellishments in bewitching rhythm. (…) her presence is that of a free, modern strong minded woman”. The New York Times, USA “More flamenco than La Tremendita is impossible” Le Monde, France. “You had to listen to the opening-­‐evening concert sung by a young and rising star of the Iranian scene, Mohammad Motamedi.” The Independent, UK