http://www.flamenco-world.com/artists/tremendita/tremendita08092009.htm
1.
生在 Triana,祖母父親都是歌手，從小跟著父親一起去 fiesta....一開始只是遊戲，後來變成我的專業，然後事情就不太好玩了…
2.
是我父親把吉他放到我手裡的，現在吉他是我工作跟研究的一項工具。
一開始他並沒有強迫我，可是到高中的時候，他比較嚴格一點，每天練幾個小時的琴，週末時，別的女孩都去玩，我得去參加 pena 的比賽。我常常週間要準備學校的考試，週末要準備 pena 的歌唱考試……那是我最不喜歡的一段日子，不是個十幾歲小女孩能輕鬆面對的。
3.
比賽是好的，因為比賽會強迫我練習。可是比賽太多了。
現在上台表演是表現自己、是表演藝術，但是歌唱比賽，大部分重點就是「技巧」。………有次比完我跟我爸說清楚了，這是最後一個比賽，好在我那一場贏了 Manolo Caracol 獎，以此開始職業生涯。
4.
家庭，triana
5.
講他學習的 flamenco 歌手，Mairena 的 seguiriya, Caracol, Pepe Marchena 的 milonga 跟 taranto 那些……爭那個歌手好不好的沒甚麼意思，有人這項強有人那樣棒，就都學。
I’ll take Manolo Caracol with his so anarchic cante but with so much taste, Antonio Mairena, Escacena, El Mochuelo…
I like to listen to everybody: Marchena’s milongas and cantes de Levante, Mairena’s seguiriyas and soleá, La Niña de los Peines’ such nice cantes abandolaos... That’s my way of working; depending on the cante I want to study, I go to the base and the closest recording to the cantaor who did it. Of the more modern ones, I love Camarón, El Pele…
For example, I took the vidalita I do in Carlos Saura’s show from Vallejo and he took it from Gardel, since it’s an Argentinean tango.
6.
7.
繼續講他學的對象
The guajira I do with Rocío, she asked me where I’d gotten it from. And I took it from the oldest stuff, from El Mochuelo, from La Rubia de Málaga, from when flamenco, more than flamenco, seemed like Spanish folklore.
8.
每天早上彈吉他
I get up, have breakfast and grab my guitar.
9.
然後上 youtube.
在這之前，人們要學一些歌，得大老遠跑到一個天殺的小鎮，尋找某個小老頭…
Laptop computers, Youtube… those things are brilliant. Now it’s really easy. Before people used to go to a godforsaken lost town to look for a little old man…
10.
學吉他帶給我音樂的廣度，一開始很難，有音階跟技巧。
喜歡爵士、喜歡傳統民謠
I like guitar more than cante.
And the thing is that guitar gives me a lot of scope.
Starting with guitar is uncomfortable because there are scales, technique… but once you already have that, guitar is the perfect work instrument for any cantaor.
I love jazz. I’m mixed up all day long in the business of those people’s improvisation. I also like traditional music; in Spanish folklore there’s a lot to search for and it’s very close to us. I’ve bought myself the ‘Magna Antología del Folklore’
我跟 Marin 一起作 Asimetrais, 我敬愛他因為，他除了舞跳得好，歌也唱得比我還好。
他作了超多的研究，當我找不到甚麼資料我就打電話給他，而他身邊總是有最棒的樂手。
I’ve done ‘Asimetrías’ with Andrés Marín, a show which I love and I love him because besides his baile, he sings better than me, he does a great deal of research - in fact, when I can’t find something I call him - and he surrounds himself with really good musicians.
(好像是說過"外國人不配教/作flamenco" 的 Marin 啊)(不過這一篇說法好像並不是如此，search "foreigners" on the page)
列舉出他看到新的 flamenco音樂的方向？
不要再作 Camaron 了，他能被學的都學光了、而且他無法被超越。
另外還有 Enrique Morente…（可惜他最近也「無法被超越」了。）
In that project colleagues from a new generation of flamencos coincide. How do you size up the panorama around you?
there’s a lot of restlessness and a lot of desire to do things. Jesús Méndez is a great cantaor. I don’t know how old he is but that face and that body don’t go with that voice, ha ha ha ha. Encarna Anillo, a great cantaora like her brother José, is also very restless and really wants to train.
We’ve also gone beyond Camarón’s period. I love him, but I’d never take anything of his because his stuff is already done and it’s unsurpassable;
And we know Camarón’s there, but Enrique Morente is also there on the other hand, and it seems like they have to go in different directions and I think they go together.
不能跳舞的革命是很無聊的 (5)