Male flamenco singer |
| Name:Manuel Soto Loreto |
| Birth: 1878 Jerez de la Frontera |
| Death: 1933 Sevilla |
"As an artist what worked against him was that he was not a faithful imitator of the famous cantaores that served as a basis for his creations; but this lack of exactitude in his imitation was replaced by the unmistakeable hallmark which he gave to everything he sang". Fernando el de Triana.
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Manuel Torre is one of the brilliant cantaores, and can only be compared with the likes of don Antonio Chacón, Aurelio Sellés and few others. He didn't merely imitate cantaores who were already well established, but rather, his creativity moulded most of the palos (forms) that he sang into their current shape, and lay the foundation for the Jerez tradition.
Torre's seguiriyas are still the ones that are preferred by the public and by cantaores; the campanilleros, which have religious origins, became firmly established within the flamenco repertoire; the fandango experienced, from its regional dimension, its complete aflamencamiento (lit. flamencoisation; that is, changes that are undergone as a result of the influence of flamenco), and has come to be currently considered one of the most difficult styles; nor should his contribution to tangos-tientos, which are now known as tientos, be forgotten; and, above all of the other palos (forms), his renditions of saetas, which loaded them with intensity, drama and exceptional emotion, are outstanding.
He worked and cooperated with other important figures of the time: Enrique El Mellizo, who was also his teacher for a brief period, Antonio Chacón, El Gloria, Manolo Caracol, Pepe Marchena, Niño Medina, La Niña de los Peines. He was praised by his professional comrades and by intellectuals while he was alive. He was especially admired by the Generation of 27, which included the likes of Lorca, Alberti or Ignacio Sánchez Mejías. He took part, as an invited guest, in the Concurso del Cante Jondo in Granada, organised by Lorca, Falla, Turina and others in 1922. |
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Manuel Torres
