The view Sent from my sofa, my thoughts on corridas I have watched on TV.
Talavante novillos for Francisco José Espada, Luís Manuel Terrón, Ginés Marín & Varea.
In this age of limited novilladas it is welcome that the impresarios of Olivenza have not only programmed two novilladas, but also included an extra novillero in each one. Eight bull corridas can have the disadvantage of being somewhat too long to digest, especially if the spectacle is not of the desired level. However, I feel that this potential disadvantage is mitigated by the benefit to the fiesta (however minor) of allowing the opportunity for one more novillero from gaining experience. The animals chosen for this first novillada were from Alejandro Talavante’s recently formed ganadería; its combination of Garcigrande and Cuvillo origin yielded predictably compliant animals whose problems were rooted in a lack of casta rather than excessive bravura.
Espada’s first novillo remained undefined during the first two tercios, it displayed mobility and nobility, but a certain lack of focus that tended towards a rajado condition. Espada took advantage of the animal’s virtues to perform well linked series on the right hand side, however, the series lacked control and, therefore, emotion. The most striking element was Espada’s marked aesthetic concept, a certain emphatic elegance that came across as natural rather than a pose. Espada was much better with his left hand, his naturales were long, pure and profound; a very solid foundation from which to build and develop his toreo. The faena concluded with figure of eight passes that aimed to grab the crowd’s attention, but, much like the faena itself, ultimately failed to ignite excitement. A series of pinchazos and an unseemly number of descabellos marred the conclusion of what, apart from the naturales, had been an eminently forgettable faena.
His second faena began with a promising series of a dozen or so estatuarios; the animal once again had mobility but lacked casta. The good toreo continued as Espada began to perform en redondo with the right hand; his derechazos were long, well timed and exerted control over the novillo. Once again, Espada showed that the left hand is his forte; the bull’s mobility had tempered and he was now focussed on Espada’s muleta as the young novillero caressed its charge with his left hand. Espada concluded with another good series of derechazos and figure of eight circulares that were exciting but untidy. This had been a solid performance, despite a certain coldness in its execution. He might have been awarded an ear had he not required a pinchazo, estocada and descabello to kill the novillo.
Francisco José had an acceptable performance this afternoon in Olivenza. He has undoubted quality with his left hand and possesses a defined elegant aesthetic concept; in order to take the next step he needs to perform with greater emotion.
Luís Manuel Terrón’s first novillo was wonderfully classy, although perhaps lacking a touch of piquant mobility to transmit emotion to the crowd. Luís Manuel was able to exploit the novillo’s class and constructed a worthy faena centred on wonderfully linked series with the right side; each derechazo was long and low, with Luís Manuel controlling the bull perfectly between each pass and not needing to adjust his footing at all through the series. The bull’s left horn was far below the level of its right so there was little toreo al natural to speak of. He killed the novillo with an effective half sword which led to an enthusiastic petition for two ears; only one was granted which, to my mind, was the correct award.
Terrón welcomed his second novillo a porta gayola, and he had to take evasive action in order to avoid being tossed during the larga cambiada. Once on his feet he gave some well executed veronicas capped with a couple of chicuelinas. It was a striking beginning with an acceptable mix of fundamental toreo de capote and populist elements. The faena began with test passes to take the bull to the centre of the ring. Once in los medios, Terrón showcased his dominant, low and long toreo en redondo. It is refreshing to see such good toreo fundamental from a young, inexperienced, novillero. Unfortunately, the bull was overly weak and every time Terrón was beginning to build momentum with his toreo, the bull would lose its footing and all emotion would collapse. His toreo al natural was at the level of his right hand, but the bull’s sickly sweet nobility and lack of strength wrested emotion from the faena. Terrón sought to overcome this handicap and secure a triumph by going through his entire repertoire. Although this approach is understandable, it may obscure that his best facet is the potential of his toreo en redondo, if he can continue to refine and perfect this he may have a future in this tough business. The long faena meant that the first aviso sounded as he was still toreando, he gave a full estocada that did not have immediate effect and, although he was on the verge of a third aviso, the bull folded in time and the local crowd petitioned for an ear that the president granted, ignoring the faena’s lack of structure and untidy kill.
Ginés Marín was one of the revelations of last year’s Olivenza novilladas, and he reminded us of his positive credentials with his opening two veronicas and a media, each of which was slow, silky and dominant. A pity that the novillo’s long charge was accompanied by a marked lack of strength. Consequently, the animal’s charge in the muleta was entirely inconsistent; when it found strength it went long, but more often than not it lacked the ability to complete its charge. Accordingly, Ginés’ faena was itself inconsistent interspersing the odd wonderful pass with inconsequential muletazos. As is so often the case, he concluded with the obligatory arrimón that excited the crowd and cost Ginés a minor voltereta. A perfectly executed estocada, going in straight and strong, claiming a full sword was worth the oreja he was awarded.
Marín’s faena to the seventh bull of the evening proved to be the corrida’s highlight. As with the entire the string, this novillo was noble, but lacking in casta. Therefore the emotive element of the performance was wholly down to Marín. He displayed the valour, assuredness and control to impose his will on the novillo and extract a number of series en redondo with either hand. These were well linked and slow, executed with a confident elegance that characterises Marín’s aesthetic concept. He displayed variety by way of attractive remates and concluded the faena with populist bernadinas that were performed closely and served to animate the public. He crowned his performance with a full and effective estocada that served him to cut two ears; two ears that marked his faena, and Marín’s performance as a whole, at a level above his partners on the cartel.
Varea’s first novillo was the weakest of the string thus far. Although Varea showed able technique and an elegant aesthetic concept, the novillo prevented any attempt at a faena from taking flight. Unfortunately, the theme continued with the final bull of this long corrida. It was noble, but lacked casta. Varea sought to impose his dominant toreo on this animal, but he lacked a proper opponent. I am loathe to judge a novillero with such lacklustre bulls. All I can conclude is that he has a pleasing aesthetic and technical concept of toreo and I would welcome seeing him once again.
Despite the uninteresting behaviour of the novillos, we were able to gain a fair view of the novilleros on the cartel. Ginés Marín performed noticeably above the level of his colleagues, but each of Espada, Terrón and Varea displayed enough virtues to make them intriguing performers; we can of course pick plenty of holes in their technique and displays but I feel focussing on the negative and ignoring the positive misses the point of assessing novilleros. There will be time to judge them on a harsher degree as their careers develop.
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