FALLAS 17/03/2015 - QUINTA DE ABONO

The view from the sofa, my thoughts on corridas I have watched on TV.

Alcurrucén Bulls for Juan José Padilla, Miguel Abellán and Diego Urdiales.

The corrida began with a beautiful black and white girón bull with a reticent charge. Padilla is a capable technician and used the mobility that the bull possessed when it was minded to charge to construct a superficial but attractive faena. There was no moving toreo en redondo, but rather plenty fundamental and accessorial passes that served to keep the populist section of the crowd engaged. He concluded the faena with a full but ineffective estocada that required the descabello to complete the task.

The lidia to the fourth bull began brightly. In typical Padilla style, he welcomed the faena with a couple of largas on his knees, which always please the crowd, and satisfactory veronicas which the aficionado would have welcomed. The bull had a mobile charge that Padilla was able to exploit in an attractive galleo by chicuelinas to take it to the horse. The spectacle continued with a pleasing tercio de banderillas. Two pairs al cuarteo that were executed within an acceptable distance of the bull’s horns and a pair al violin that accomplished its purpose of stirring the crowd. Sadly the faean de muleta was almost entirely non-existant. It began with hopeful kneeing down muletazos, but the excitement of the crowd at the populist toreo did not match the bull’s worryingly inspid charge. I am inclined to think that the bull had a medical problem rather than a lack of strength because, from this point on, it was barely able to move and eventually, after a some long minutes of Padilla posturing with the muleta and then the sword, collapsed on its side before the matador from Jerez was able to give an estocada. The conclusion is a sad spectacle for the fiesta.

Miguel Abellán’s first bull had a profound charge that had to be teased out of it. The animal would not give up the charge readily, you had to present the lure right up against his nose and keep the muleta in its face between each pass to ensure it repeated the charges. Along these technical lines Miguel was able to perform three deep series of derechazos. The faena as a whole had emotive peaks and troughs brought by the animal’s reticence to charge, on occasions, but as a whole it was a technically correct and pleasing work which was moving on occasions.  The tardy effects of a full estocada probably prevented Miguel from cutting an ear that a majority of the crowd had petitioned.

When the fifth bull came out of the pen, we were at that disconcerting point of the afternoon hwere the pre-corrida optimism has turned to pessimism faced, as we were, with another string of underwhelming bulls… Such pessimism was not helped by the untidy charge of this bull, a nervy reticence to charge that was founded on its mansedumbre. Abellán sought to focus the animals charge with some pleasing early doblones before giving it distance for the first series of derechazos. The bull charged with mobility and repeated, which allowed for a linked series, but marked by the informal charge. The two subsequent series followed the same form, it was not pretty toreo, but pleasing in their control of a nervy bull. By the time Abellán took the left hand the bull had lost interest in charging. Abellán tried another series on the right side, in an attempt to raise the temperature of the faena and cut an ear. He might have been better served opting for the sword, over and above the prize of an ovation he received at the end of the faena, the merit of the performance was in his ability to have dominated a nervy bull. Moreover, the afternoon was further confirmation that the improved torero we saw last year has returned in 2015.

The third sword this afternoon was Diego Urdiales, a veteran torero with a strong core of supporers who feel that he is unfairly marginalised by the system. While I will not be the one arguing for the equity of the current mundillo, I feel that he receives about the right amount of contracts; he is a very good torero, and Sevilla should have certainly found a spot for him, but I think that he is firmly part of the second tier and therefore a step below the leading toreros and figuras. With the third bull he showed his positive qualities. The bull was mediocre, but Urdiales was firm and performed an intense faena marked by his personal aesthetic expression. Some of his individual passes an redondo were truly beautiful, and the naturales a pies juntos with which he concluded the faena were an attractive tip of the hat to toreo de frente. The faena was worth an ear, but Urdiales lost this with poor sword work.  

Urdiales opted for some low genuflected test passes to begin his muleta work with the final bull. The animal was strong enough to charge, but reticent to do so with vigour and emotion. Urdiales’ only option, therefore, was to stand his ground and exert his dominance and control over the bull. He managed some distinctive passes to savour, but the faena, taken as a whole was inconsistent and un-motive because of the bull’s condition.  Urdiales’ performance this afternoon was encouraging, he was able to extract the little that each of his bulls offered.

FALLAS 16/03/2015 - CUARTA DE ABONO

The view from the sofa, my thoughts on corridas I have watched on TV.

Juan Pedro Domecq Bulls for El Soro, Enrique Ponce & José María Manzanares.

This afternoon marked a double celebration for Valencia. The city’s popular hero, El Soro was reappearing in its plaza following a long and arduous recovery from a succession of knee operations. His paseillo this afternoon marked a triumph of the spirit, the question was whether his battered body would be up to the task. I will allow myself to get misty eyed over the afternoon’s second cause for celebration, the twenty fifth anniversary of Enrique Ponce’s alternativa. Enrique Ponce has been a torero for as long as I have been an aficionado, I do not know a fiesta without Ponce, and during that time he has given me countless afternoons of joy.  His next great faena will be just around the corner, I can only hope that I will be able to experience it. The third torero on the cartel, José María Manzanares, is not from Valencia, but being from just down the road in Alicante means that he is almost considered a local lad and capped the line-up with an artistic edge. The behaviour of the Juan Pedros would hold the key to the afternoon, I find it an inconsistent ranch. It does provide a classy bull, but it is also a ranch that is more than capable of providing an absolutely putrid string.

To see El Soro take the ring was a miracle in itself, it was clear as he made the paseillo how much his movement is impaired by his bionic knees. It was therefore fortunate that his first bull was a noble, almost docile, animal that allowed him to perform the lidia with ease. El Soro engaged the crowd in the first two tercios with his varied toreo and, just as significantly, his affable, infectious personality. Toreo is a performance art, and El Soro took the stage and managed the crowd with great skill. His veronicas to receive the bull were respectable and his tercio de quites varied and attractive. The highlight of the Soro display is, of course, the banderillas during which he surgically repaired knees were no obstacle to a pleasing tercio that included his daring pair al remolino. El Soro continued to handle the crowd during the faena de muleta, selling his muleta work and adorning it with extra-taurine actions such as planting a valencian flag in the centre of the ring. A strictly technical appraisal of the faena would not be altogether kind on El Soro given his inability with the right hand to lower the muleta or pass the bull close to him. However, this was a special afternoon where the crowd was willing to forgive such details just to be able to honour its hero one last time, besides, his toreo al natural was objectively excellent and profound. With the crowd eating out of the palm of his hand, only poor sword work prevented Vicente Ruíz from cutting an ear.

The show contined with the fourth bull, beginning with a larga cambiada a porta gayola executed while sitting on a chair. On the one side, the chair evokes images of Rafael El Gallo toreando on a chair, but it also served as a reminder that this was a torero that was too physically limited to get to his knees. El Soro once again shone with the banderillas, surpassing his previous effort with some risky and tight al caurteo and an even more dramatic and pronounced par al remolino. This fourth bull was did not have the sweet charge of the opener and El Soro was unable to construct a meaningful faena, which, of course, did not prevent the crowd from cheering on his every pass. They would have even strongly petitioned for an ear that the president did not grant. However, the afternoon ended on a sour note for El Soro with a serious voltereta suffering injured vertebrae – a reminder, as if we ever needed one that toreo is a serious proposition indeed. As a one off performance, El Soro’s return to Valencia was the type of emotive afternoon that the fiesta can give us, however, because of the physical limitations on his toreo, it should not be an experiment that is repeated, for El Soro and la fiesta’s benefit.

Enrique Ponce’s first bull was a nervy animal, with mobility, but lack class. Enrique’s muleta was a well-timed balsam for the bull’s encastado charge, Enrique presented it at the correct height and with conviction to ensure that the animal followed the lure, evening though it kept on looking at the man and repeated its charges. After the first couple of seies with the right hand, Ponce had dominated the animal and smoothed its rough charge. It was at this point that Enrique was able to relax and perform an excellent series of perfectly linked and profound naturales. He then performed classy toreo en redondo at his pleasure with either hand. This was vintage Ponce, using his prodigious technique to solve the problems posed by the bull and then relying on his artistic ability to construct an emotive faena. An effective sword gave way to an ear. 

Enrique’s second bull was of the putrid variety, weak and docile it was the antithesis of the notion of a toro bravo. Enrique persevered with the animal, presenting the lures at mid-height in an attempt at making it charge, but it was pointless. He killed with an estocada caida and was awarded with a generous ovation.  

The third bull of the afternoon was weak with an unemotive charge. Manzanares spent a great deal of time trying to perform a worthwhile faena with it but it was difficult with such raw material. There were some good passes, given the sheer sum of muletazos the odd one or two were bound to be worthwhile but, despite the music playing and the crowd’s cheers, the faena left me unmoved. Manzanares was sure of himself throughout the performance and worked closely to the bull. He did well to keep the crowd’s attention despite the bull’s failings and concluded with circulares and a desplante with the telefono.

Manzanares’ final bull was noble and insipid. However, José Mari has the class and aesthetic to give such bland charge emotion. His derechazos were silky, although they could have been performed closer to the bull, and well linked. This is not the tauromaquia that we want to see, a degenerated ballet before a non-entity of a bull, but when faced with such lemons, at least we were served lemonade. A sizeable minority petitioned for an ear following an estocada, which was not attended by the president.

The corrida had been presented as the celebration of two Valencian heroes, but was characterised by the dull string of Juan Pedros. Ironically, the type of bull that prevented Ponce from celebrating his twenty fifth anniversary with the brilliance it deserved, allowed El Soro to manage the lidia and take Valencia back to the eighties and the height of sorismo. José María Manzanares was the third wheel among all the celebration, and was encumbered by the poor bulls as much as Ponce.

FALLAS 15/03/2015 - TERCERA DE ABONO

The view from the sofa, my thoughts on corridas I have watched on TV.

 Nuñez del Cuvillo Bulls for El Fandi, Sebastián Castella & Román.

I am sure that anyone familiar with the Fandi show will not be surprised that he opened the corrida with a larga cambiada de rodillas. Similarly, it should no longer be a secret that, once on his feet he can perform delicate veronicas characterised by their low hands and slow execution. This afternoon was no different, but, rather than persevering with the pure toreo, he concluded the recibo capotero with some plain chicuelinas. El Fandi’s principal virtue is his ability to engage the crowd throughout the early tercios; today his interventions with the capote were a closely worked galleo by chicuelinas and an attractive quite by zapopinas. Castella also performed a quite, three slowly worked tafalleras that were acceptable but nothing more. The tercio de banderillas was Fandi by numbers, he placed two pairs al cuarteo, a toro pasado, and one al violin with ease, and punctuated each pair with the odd recorte. It was an attractive tercio, and the crowd certainly enjoyed the performance, however, as an aficionado who has seen a great deal of El Fandi, it left me unmoved. The bull was not blessed with excessive strength, and what little it had was sapped by a voltereta during the opening test passes. The faena was therefore a non-entity.

El Fandi performed a variety of quotes and galleos with the capote during the first tercio of his second bull, his galleo by gaoneras capped with a tight recorte to take the bull to the horse was particularly pleasing. His tercio de banderillas was more a showcase of David’s physical dominace over the bull rather than pure execution. That said, his two in one to finish the tercio was acceptably executed and capped with El Fandi’s typical backwards run, timing the bull’s charge with his legs and continuing until the bull stops. The animal moved without much emotion during the final tercio. El Fandi was able to torear cleanly, but without creating beauty. El Fandi has the technique to control the bull and the variety to attract the crowd, however, his toreo de muleta lacks emotion. Nevertheless, the crowd enjoyed his performance, especially his desplantes and remates on his knees and soulless manoletinas. El Fandi’s efficient sword killed the bull from one estocada contraria allowing him to cut an ear that the crowd petitioned enthusiastically (the petition was no less enthusiastic for the second ear, but this award would have been ridiculous). However, for me, the faena was like so many others of El Fandi that leave me cold.

Castella began his first faena with some ayudados por alto and the bull’s charge did not augur well, it seemed to have a short charge, punctuated by a jump at its conclusion. However, when Sebastián took it to the centre of the ring to torear en redondo the bull gained an extra gear and allowed for a couple of good series of derechazos. Castella took the bull long and low as it followed the lure with vigour. His opponent's charge was slightly tardy on the left side, but this did not prevent Castella from extracting a couple of sensational long and silky naturales. The faena continued in this vein until the bull’s run dry, at which point Castella opted for a populist series of circulares, executed cleanly and closely, which served to excite the crowd prior to the estocada. The pinchazo that preceded the full sword was no obstacle to the crowd petitioning for an ear that the president duly granted.

The afternoon's great faena came at the hands of Sebastian Castella with the fifth Cuvillo. A noble bull, with a sweet charge and the mobility to support demanding toreo. The doubt was whether Castella, a torero known for his valour and stillness, but whose toreo en redondo has on occasions underwhelmed. The answer came with the first two series of excellently linked derechazos. Seamlessly sewn together, they were silky mathing the bull’s noble charge. Castella took a couple of passes to get the measure of the bull on the left side, but, the smooth, soft toreo continued al natural. There was little need for arrimones and other populist pyrotechnics, the toreo fundamental was strong enough to lift the crowd on its own. By the end of the faena we had our answer to our questions over Castella’s toreo, it has developed a smoothness and extra dimension that allowed it to be at the level of this classy bull. As always when we have a decent bull, a minority begins to petition for the indulto. An indulto that, on this occasion would have been entirely unwarranted, even the vuelta al ruedo for the toro was borderline. Castella’s two ears, however, were justified, especially given the well-executed estocada with which he dispatched the bull.

Román’s opening to his first faena was a dramatic couple of arrucinas executed in the centre of the ring citing the bull from distance, he remained deadly still as the bull brushed passed him. The bull repeated its charges, but had an uncomfortable flick of the head at the end of each pass; when Román was able to time his pass well and avoid the lure being hooked, the passes flowed smooth and emotive. However, there were too many enganchones that took momentum away from the faena. The highlight was an excellent series of slow and long naturales, engaging the bull at the start of the pass and curving its trajectory around his body. It was a pity that the faena was lost among excessive enganchones and occasionally rapid toreo.   

The afternoon’s claosing bull was weak and noble. It allowed Román to perform a long faena with little meaning. Román’s toreo can be slow and moving, but he needs to perfect his technique and understanding of bulls in order to allow his advanced concept to flourish. He is young and we will give him time.

 

FALLAS 14/03/2015 - SEGUNDA DE ABONO

The view from the sofa, my thoughts on corridas I have watched on TV.

Victoriano del Río Bulls for Morante de la Puebla, El Juli& Daniel Luque.

If yesterday was the feria’s weakest cartel, this afternoon, we were presented with, arguably, the Fallas’ most attractive combination of bulls and toreros. Each of the remaining cartels has, in my view a weak point, usually the veteran opener that stars of the programme request. However, here we had two figuras, in Morante and El Juli, each looking to rebound from a somewhat underwhelming 2014 and Daniel Luque, one of the leading candidates ascend to figura status, who in turn enjoyed his best season in 2014. On paper, the Victoriano del Río bulls should provide adequate material for each matador to display their tauromaquia. 

Morante’s opening bull had nerve, but lacked class. A complicated proposition. Although it would follow the lure when it was presented with conviction (it charged well to José Antonio Carretero’s cape), its reticence made it an uncomfortable opponent. Morante was not in the mood to spend a faena trying to solve its problems, thus opting for a few passes de castigo and the kill. He was rewarded with a chorus of whistles for his trouble.

The fourth bull had an undefined charge through the first tercio, however, as the horses left the arena, it gave Morante five delicate charges that the Sevillian artist used to sculpt four marvellous veronicas and a media. Four seamlessly linked, low, smooth and sweetly timed passes wherein the torero’s whole body accompanied the charge. A timely reminder that Morante is an all-time great with the pink cape. Morante began the faena with beautiful ayudados por alto. Despite its brilliance, the punishing beginning was perhaps not the ideal start given the bull’s condition. Nevertheless, the bull maintained sufficient nobility and vigour to allow for a stirring faena based around series of toreo fundamental with either hand. Morante is not one to alleviate a bull’s charge with his toreo, and these were low and demanding series of long muletazos. The highlight were three well linked, long and curved naturales that brought the crowd to its feet. As is characteristic in Morante, the toreo acesorio was just as significant as the toreo en redondo. He sprinkled a farol, molinete with the left hand, pase de las flores and molinete abelmontado across the faena. It was a pity that the excellent estocada with which he killed the bull was preceded by a pinchazo as it no doubt cost him the bull’s second ear. 

El Juli’s first bull allowed his and Daniel Luque’s capework to shine. El Juli opened with pleasing veronicas, taking the bull away from the boards with each successive pass and concluding with a nice media and attractive revolera. El Juli opted for chicuelinas at the quite, these required valour to wait as he gave the bull distance and it galloped slowly towards him. Daniel Luque is an underrated capotero – he could conceivably be regarded as the second best capotero in the escalafón after Morante – and confirmed this with a well worked quite by veronicas and delantales, the quite’s second pass was truly exceptional. 

The bull was noble and willing to charge and El Juli masterfully applied his good timing to channel this into two very good series of derechazos to open the faena. The bull lacked the casta to grow into the faena, and seemed less willing to charge thereafter. El Juli’s applied his masterful muleta to extract one more series with each hand before working his way in between the bull’s horns for an ojedista arrimón. I often criticise this type of ending when it is ill conceived or, plainly, not executed correctly. However, El Juli’s arrrimón was emotive, not only was he working close to the bull, with its horns literally brushing his thighs, but the closeness was a means to extract a string of long, low and slow derechazos. This arrimón was a well worked combination of pure and brave toreo. El Juli necessitated a pinchazo, low estocada and descabello to kill the bull and therefore lost a potential ear. The minor petition was unwarranted given the poor execution of the supreme suerte, it is as if the crowd needs an ear in order to ratify that it has seen good toreo, rather than accept good toreo as an end in itself.

The fifth bull’s charge did not fill us with hope; it was classless and lacked commitment to lower its head. However, El Juli’s powerful muleta was the perfect tool with which to correct these defects and convert its mobility into a worthwhile charge. El Juli lowered his hand and timed the cloth; the bull had no choice by to follow the lures and repeat its charges. El Juli was thus able to construct a worthwhile faena, largely based on the right side, but with some work al natural. It was not an emotive performance, rather, one was left with the satisfaction of a job well done, of correctly executed and masterfully technical toreo. El Juli concluded with six very closely worked manoletinas given in a profile stance during which a sensation of danger, despite the torero being entirely in control. A three quarters estocada led to an ear and a frenzied petition for a second, which was rightly ignored. 

 

Luque welcomed his first bull into the ring with a series of lovely veronicas, he gave some isolated passes at first. As the bull gained its focus, Daniel linked a long series of slow, low and smooth veronicas that took him from the tercio to los medios. The excellent cape work continued into the first tercio with a pretty galleo by chicuelinas to take the bull to the horse, these were characterised by Luque’s low hands and rhythmic execution. The galleo was capped by a surprising tijerilla. Luque displayed variety with an attractive quite by cordobinas, those on the left side were particularly good. In all Luque’s intervention with the capote confirmed his status as a leading capotero and served to keep the crowd engaged throughout the first tercio. 

Daniel opened with estatuarios controlling the bull though the pass while executing them with calm stillness and concluding with some remates por bajo to savour. The first two series of derechazos were well linked, but the bull was losing impetus and the passes lacked emotion. The bull maintained its class on the left side, which allowed Luque to perform the odd excellent natural within a long and ntermittent series. The bull was no longer apt for toreo en redondo, so Luque resorted to well linked and closely worked figure of eight toreo that lifted the crowd and the faena.  With the bull rajado, Luque concluded his faena with a long, clean and continuous series of luquesinas. Luque had correctly structured his faena to ensure that it maintained an emotional intensity as the bull’s charge lost its vigour. Despite the defective sword, which necessitated the descabello, Luque was awarded the ear that his cape and muleta work deserved.  

Luque’s good afternoon with the capote continued with his greeting to the sixth bull, four dominant genuflected veronicas and another four on his feet that were delicately executed with low hands. The double media to conclude the greeting was emphatic. Once again, Daniel intervened in quites with a string of attractive chicuelinas with an open stance. By the tercio de muleta, the bull’s charge lacked conviction; it retained mobility, but lacked a brave desire to chase the lure. It was a complex and ungrateful bull that, while not boring, did not allow for consistently good toreo en redondo. The second series of derechazos was emotive, but the remainder of the faena was as inconsistent as the bull’s charge. A series of luquesinas closed the faena and provided the crowd with pyrotechnics that would have no doubt convinced it to petition for an ear had the sword travelled true.

FALLAS 13/03/2015 – PRIMERA DE ABONO

The view from the sofa, my thoughts on corridas I have watched on TV.

Fuente Ymbro Bulls for Juan Bautista, Jímenez Fortes & Jesus Duque. 

The Fuente Ymbro bulls were the main attraction of the afternoon. The three matadors are firmly in the middle tier and fail to stir expectation. Juan Bautista has had a dignified career peppered with notable performances, but in light of the young toreros that have been left out this feria he was an unnecessary inclusion. Fortes has stagnated as a torero with valour but a precarious technique, however he is young, and therefore the most welcome addition to the bull. Jesus Duque took the alternative last Fallas, cut two ears and then did little for the rest of the temporada until he cut two ears once again in the Valencia October feria. Given the double triumph, and my conviction that triumphs should lead to more contracts (an obvious idea that the mundillo does not always apply), his appearance in the feria is entirely justified. However, on a personal level, my limited previous viewings of this toreo had not filled me with the wish of wanting to see him again. While this may seem like an overly grouchy opening paragraph, the Valencian public seemed to agree given the small attendance. Rant over, and aficionado hat placed firmly, I sat before the TV ready and willing to assess he performance of three toreros who we infrequently meet on a cartel facing a string of bulls from an attractive ranch.

The first bull was weak, but, if taken at mid height, would repetitively charge with class. Bautista understood this, beginning with two clean series of derechazos. The one pass in which Bautista lowered the hand the bull fell, thus confirming his technical approach. The bull charged with more vigour on the left side and Bautista’s toreo al natural therefore enjoyed greater intensity. However, although clean and correct, the faena came across as too rapid and bland, it lacked a series of emphatic passes to give it some character. Besides, despite its initial weakness, the bull maintained its mobile, classy and jovial charge throughout the faena, it even accepted lower passes more readily as the tercio de muleta progressed. The highlight of Bautista’s performance was an excellent estocada, going in straight and strong; it was perhaps the only truly emotive moment of the faena and the chief reason why the crowd petitioned for an ear. Given the lacklustre faena I would not have asked for an ear, but, rulebook in hand, the petitioners seemed to be in the majority.  

Fortes’ opening veronicas to the second bull were excellent, the bull charged emotively and with class, and Fortes accompanied the charge with his well-timed cape. Fortes recognised the bull’s class and opened the faena toreando al natural in the centre of the ring, he cited the bull from distance for the first two series, taking it long during the first few passes of the series, the slowing his toreo and adding an emotive element for the final passes of the series. The faena followed the same pattern for the next two series, on the right hand, although it lost some intensity. The bull maintained its class and sweetness throughout the faena, with an edge more casta it would have been a complete bull. It was encouraging to see Fortes being able to perform slow, well timed toreo to a classy bull, I still had the impression that reckless valour is still more in keeping with his concept of toreo. As it was, despite some beautifully executed passes, especially some accessorial toreo a pies juntos, the faena had too many inconsistencies to be entirely satisfactory. Nevertheless, the crowd once again petitioned for an ear, which might have been deserved had he not necessitated a descabello to follow the estocada and was ultimately not granted by the president. 

The third bull was undefined during the first two tercios, it was mobile and strong, but lacked focus and displayed a marked querencia towards the boards. Duque took advantage of the mobility during an attractive opening three series on the right hand, he took the bull long and low, ensuring that he readjusted his footing correctly between each derechazo. However, a touch of repose was missing in order to make the toreo truly emotive. This was another good bull, different to its predecessors, but its mobility and nerve made it interesting for the aficionado. Its principal failing was that the edge of nerve only lasted three series before being overcome by its manso condition. As this nervy mansedumbre came to the fore, Duque lost control of the bull and the faena, for all its early promise, dissipated. 

Bautista opened his performance to the fourth bull with a larga cambiada on his knees. However, the capote highlight of the lidia was a dramatic, but cooly executed quite by chicuelinas from Jímenez Fortes, he brought the bull very close, but was entirely in control. This bull was, like its brothers, another intriguing proposition, with a mobile and repetitive charge that allowed for toreo. Bautista clearly also liked the bull, dedicating it to the crowd and opening the faena with emotive, controlled and well linked doblones. However, although it had the mobility to support a string of series en redondo, it lost an edge of vigour with each consecutive series. Bautista’s toreo was again clean, but cold – he had the technique to extract passes as the bull became ever more reticent to charge, but the faena lacked emotion.  

Fortes once again shone in the quite to the fifth bull: citing the bull from a distance in order to perform closely worked gaoneras that showcased the dramatic element of his toreo. Fortes began this second faena in a similar vein to his first. In the centre of the ring, giving the bull distance and toreando en redondo without any test passes. The bull was strong, but somewhat reticent to charge. When it charged well during the opening gambits of the faena Fortes was able to torear long and slow. As it stopped, Fortes displayed firmness and valour to stand his ground and extract the odd pass from it. This was not a pretty or attractive faena, but Fortes was able to display his valour and work close to the bull, concluding with a startling arrimón. The closing manoletinas were exciting because of their closeness and, along with an effective estocada, were one of the reasons why Fortes was able to cut the afernoon’s only ear. 

The final bull was mobile but complicated; it moved a great deal, but lacked class and bravura. The emotion it conveyed was based on danger rather than emotion. Despite his efforts Duque, as is understandable for a torero of his experience, was unable to channel or control the bull. The faena’s only moment of note was the spectacular tossing suffered by poor Duque. Desperate to try and extract something meaningful from the bull (in order to secure his next contract), Jesús spent too long in front of the bull. He killed with an estocada caida putting an end to a disappointing corrida.

OLIVENZA 08/03/2015 – SEGUNDA NOVILLADA

The view from the sofa, my thoughts on corridas I have watched on TV.

 El Freixo novillos for Posada de Maravillas, Ginés Marín, Pablo Aguado & Juan Carlos Carballo (corrida matinal). Aguado and Carballo were making their debut with pics. 

 

Posada de Maravillas returned to rings following a lengthy absence as a result of the serious hand injury he suffered in Pamplona last summer. The young novillero was visibly nervous before the paseillo and conscious of the importance of the morning, not just because it marked his return from injury but also, because of its importance in the wider context of his career. It has been two years since he burst on to the scene with a spectacular triumph in Olivenza and he needed to build some momentum for his alternative, which should be forthcoming. 

Thankfully Posada celebrated his return with a triumph, cutting two ears from his first novillo: a compliant, noble animal with sufficient mobility to allow for toreo en redondo. Posada is an elegant torero, and elegant toreo is always welcome. However, the highlight of this faena was his desire to take the novillo long through the pass, guiding it around his body and keeping his hand low. Allied to this was his technically sound toreo fundamental that allowed him to link the series to perfection and time the passes to a tee. Following his spectacular first season, I was disconcerted by some of Posada’s performances last year, before he got injured. However, I am happy to report that this morning, he looked as good as ever, combining sound toreo with artistic touches. The full estocada confirmed his two ear triumph. 

Ginés Marín was again on the card, looking to repeat Friday’s triumph. His saludo capotero was dramatic: Marín welcomed the novillo with a farol de rodillas, and sought to stay on his knees to torear. His desire to please overtook technical considerations and before he was able to execute the next pass the bull was on top of him, launching him to the boards with one shake of the head. Mercifully the bull did not pursue Marín and we had nothing more to lament than a serious fright. Once on his feet Marín executed some beautifully timed veronicas, capped with a wonderful low media. Marín remained engaged with the capote throughout the lidia and regaled us with a galleo by chicuelinas to take the novillo to the picador and some saltilleras as a quite – the variety was refreshing, but the intervention with the capote failed to connect with the crowd.

By the tercio de muleta the bull displayed the piquancy of casta, a most welcome addition that had been conspicuous by its absence in the previous novillada. The doblones with which Marín took the novillo to the centre of the ring was the perfect recipe to templar the bull’s vibrant charge, the test passes were emotive and dominant, concluded with an aesthetically pleasing vertical remate.  The bull charged long and committed on the right side, and Ginés was able to channel this into good series of derechazos marked by good timing and long passes. Given the novillo was more reticent to charge on its left horn, the faena lost some impetus when Marín opted to torear al natural. Back on the right side the faena gained greater emotional intensity as Maín slowly worked his way closer to the bull culminating in a controlled arrimón. The manoletinas to finish the faena were acceptable but unnecessary. Ginés is an effective cannon with the sword and claimed his third full estocada of the feria. The crowd enthusiastically petitioned for a second ear, which was granted, but one ear would have been a sufficient reward.   

Pablo Aguado greeted his first novillo in the centre of the ring with three tight faroles on his knees, although exciting, they were, technically not the ideal start and ended with a near tossing – I am willing to forgive this technical short coming in a novillero, toreo should be emotive and not merely academic, especially at this level. The bull retained the edge of casta that it displayed in the recibo capotero for the muleta, making its charge difficult to temper, but emotive. Aguado channelled this casta through early test passes and a low hand during toreo fundamental allowing him to sculpt some beautifully timed passes with either hand. However, the novillo’s charge was too uneven and all too often lacked commitment. It was evident that the animal’s initial nerve was founded in mansedumbre rather than bravura. The faena was therefore incomplete, but Aguado showed valour and good technique to overcome a couple of tossings and the problems offered by the novillo. As the faena faded, there was still time for Aguado to execute two stunning passes a pies juntos, one a natural, the other a chest pass with the right hand. An excellent sign off to an intriguing faena that was met with an ovation from the crowd and a minor petition that was rightly ignored by the president. There did not seem to be enough handkerchiefs and the faena, although technically sound and sprinkled with attractive toreo, was not quite deserving of an ear.

Juan Carlos Carballo was the mornings other debutant, his first novillo’s principal failing was its weakness and its resulting short and reticent charge. Carballo was confidently assertive and managed to extract one very good series of long naturales, the first three of the series were exceptional as the novillo’s momentum took it long through the pass, however as the animal lost this impetus, its lack of strength was evident and Caraballo could only manage short passes to finish the series. Juan Carlos continued the faena with incomplete series, which combined some good passes with some enganchones. Despite these lacunae, Carballo was careful to structure his performance to a crescendo with a closely worked arrimón during which he let the novillos horns brush his thighs – it may not be pure toreo, but it certainly ignites the crowd. Juan Carlos finished his faena with peculiar manoletinas, executed without the sword supporting the muleta’s cloth, followed by a desplante on his knees. He claimed a full estocada and was awarded two ears where maybe one would have been sufficient. 

The six ears that had been cut by the half way point were somewhat excessive, but this should not obscure that this had been an entertaining morning thus far (as the reader will have noted, there was a great deal to write about). I am not one to quibble over excessive orejas, but it is incumbent on the aficionado to assess and calibrate the faenas regardless of their ultimate prize. In that spirit, I would want to highlight Posada de Maravillas’wonderful faena once again; the only one, thus far, truly deserving of the double prize. Some credit should also be given to El Freixo’s novillos, without being a fountain of casta and bravura, they had enough raw qualities for the novilleros to perform interesting and enjoyable toreo. The positive behaviour of the novillos would continue into the second half of the corrida and allow for more pleasing toreo; my major objection with the animals was their poor presentation. 

Posada’s second novillo showed great mobility and desire to follow the lures. Such a charge needed a strong and imposing muleta to temper its strong nature, but Posada was not able to dominate on a consistent basis and the faena never took form. On the few occasions where Posada gave the novillo a low muleta, long passes and readjusted his footing as necessary between each pass he performed pleasing toreo. Ultimately, however, this was a disappointing faena, more so given the excellent impression Posadahad caused with his first toro, but an understandable result given that he is still a young novillero recovering from a serious injury. The key is to learn from this type of novillo and mature as a torero. 

Ginés Marín met the sixth novillo with an excellent series of veronicas, the charge was long and true, and Marín gave long and very low veronicas, he was entirely dominant and relaxed – this was a young man entirely in control. The series of veronicas executed as the quite was just as emphatic, exceedingly low capotazos given with rhythm and during which the whole body was accompanying the charge. It was truly beautiful cape work. The start of the faena was toreo to savour, low genuflected test passes concluded with a majestic cambio de mano, which all had the stamp of assuredness that Marín gives to his toreo. The toreo with the left and right hand was equally assured and imposing. Marín’s derechazos were long and the naturales silky, the bull passing very close to the torero on each occasion. It is a pity that the bull, lacked an edge of commitment to give Marín’s toreo an extra level of importance. Refreshingly, Ginés concluded with two series of parsimonious and pure naturales and some genuflected passes, rather than the oft-abused arrimón. A half sword recibiendo concluded the faena and led to Marín’s third ear of the morning. However, above any prize, the principal conclusion of Ginés’ performance is the mastery that characterises each facet of his toreo. He is a novillero that is beyond his years. 

As the seventh bull entered into the arena, its novillero, Pablo Aguado, was the only one that had not yet secured the puerta grande. Happily, he soon put this right with an excellent faena founded upon elegantly executed toreo en redondo. The El Freixo novillo certainly contributed to the tiumph, it had a long, classy and repetitive charge, especially on the right had side. A novillo like this can, of course, be a double edge sword, while it serves up the possibility of a triumph, if a novillero is unable to rise to its level it can be a worrying sign for their ultimate prospects. The faena began with a delicate series of passes naturales and cambiados to take the bull into the medios, concluded with an emphatically beautiful cambio de mano. Delicate is perhaps the best adjective for the faena, the bull’s classy charge called to be caressed with the muleta. Aguado duly did with long and smooth series of derechazos, seamlessly linked and concluded with a variety of artistic and elegant remates. The novillo was not as good on the left side, but this was no impediment to Aguado performing solid and emotive series of naturales. He killed with an untidy looking full estocada which was, nonetheless, effective and allowed him to cut two thoroughly deserved ears. 

Caraballo’s recibo capotero to the eighth and final novillo was attractive, beginning with a saltillera a porta gayola and concluded with a revolera on his knees. This was another very good novillo that reached the muelta with mobility and vigour. Carballo’s faena was inconsistent and below the level of this very good novillo. The charge required timing and repose, but Carballo’s suffered too many enganchones and he did not always guide the novillo long through the pass as its charge required. Carballo was better with the left hand, extracting a couple of series of smooth muletazos, but the faena underwhelmed given the novillo’s quality. Nevertheless, despite his technical shortcomings, Carballo showcased valour and a great desire to please, these are the basic qualities we require from our novilleros. There will be time to learn the trade. 

OLIVENZA 06/05/2015 – PRIMERA NOVILLADA

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.