Carmen Linares, the renowned cantaora from Linares in Jaén, born in 1951, is honored with the Princess of Asturias Art Award, a recognition she shares with bailaora Maria Pagés. Before heading to Asturias, Linares spoke by phone with this newspaper.
– This week you received a notable honor. The National Dance Award went to Ana Morales
-Yes, and to Andrés Marín as well. I’m thrilled to know them both; they are friends, collaborators, and outstanding artists.
-If you add this prize to the Princess of Asturias you share with Maria Pagés, isn’t that a remarkable double milestone for the flamenco world?
-Of course. I am happy to share the Princess with Maria Pagés, and it’s a wonderful coincidence that the National Dance Award was given to two flamenco artists I deeply admire. I was genuinely surprised when the call came to tell me about the Princess of Asturias award because I hadn’t expected it. There have been times I didn’t even know I was nominated. I’m grateful that flamenco, a genuine art form, is being recognized in these prestigious awards. It’s not just a personal win; it’s a celebration of flamenco and the role it deserves on the world stage.
-And it’s been a while since a flamenco artist received such honors; Paco de Lucía was recognized in 2004.
-It was a tremendous moment. Paco is the embodiment of flamenco’s spirit, a champion who made the art his banner. The ceremony was deeply moving, and the recognition felt almost like a shared triumph for all who love flamenco. I always follow the awards with affection, but that occasion was especially thrilling.
-Have you ever dreamed of receiving the same award at Campoamor?
-Honestly, no. It seems the pace has changed; there are several winners now, and I hope flamenco continues to be represented with dignity. There are many remarkable artists who deserve to be acknowledged.
One of those great talents, Manolo Sanlúcar, passed away this summer.
-It’s easy to think Manolo Sanlúcar would have deserved this prize as well. Morente, Camarón, and others who are no longer with us fought to elevate flamenco and gave it a brilliant legacy. The Princess isn’t a posthumous honor, is it?
-No.
-What a pity. Linares had a very special connection with Manolo Sanlúcar; they recorded an album together, a significant loss for the collective flamenco family.
-Tauromagia is among the greatest milestones in the world of flamenco. Do you agree?
-Yes. Tauromagia is not only Sanlúcar’s remarkable album; it stands as one of flamenco’s grand achievements, a masterpiece crafted with meticulous care as he explored discography and symphonic projects. Manolo was a unique artist, a flamenco genius who shaped the genre with vision and heart.
-Celebrating forty years on stage, or perhaps more in truth?
-That’s right. The show premiered before the pandemic, and a handful of performances followed. Linares marks forty years as a soloist, though she spent a decade singing for dance beforehand. In total, she has spent fifty years in professional singing, during which she learned every aspect of performance, collaboration with dancers, and stage presence. Those forty years were when she chose to focus on singing, but the journey adds up to about fifty years of artistry.
-At the age of fifteen or twenty, do you notice your voice changing more than in early years?
-Absolutely. The voice evolves, grows in depth, and gains a distinct personality. As adulthood arrives, knowledge and intent shape the way one sings. The voice becomes deeper with time, yet nuances remain, and the expression grows richer. What matters most is the ability to reach people’s hearts with sincerity and clarity, conveying everything intended and leaving a lasting impression. That is the core of true artistry.
-The National Dance Award and the Princess of Asturias coincide with a significant anniversary, the centennial of the Granada Cante Jondo competition.
Yes, it feels meaningful. The centennial of such a landmark event in flamenco resonates with the broader celebration of these two awards. Granada hosted cante jondo performances at the Generalife throughout the summer, underscoring how this art form continues to invigorate audiences. The alignment of these milestones seems almost ceremonial, reinforcing that flamenco remains at the center of cultural recognition. The future looks bright, and the hope is that flamenco will keep receiving the spotlight it deserves.
-Would you like to perform with Diego el Tenazas, the winner of the Granada competition?
-Of course. There is a genuine interest in meeting all those who took part in the Granada event. Meeting Tenazas would be meaningful, but the journey also brings encounters with greats like Camarón, Morente, Manolo Sanlúcar, and Paco de Lucía. The wish is to savor the moment with the right timing, recognizing the teachers who have shaped her. Listening to Chacón and seeing Pastora Imperio, through available recordings, remains a treasured memory, though it is a challenge to access them all.
-Was singing your childhood path, or did you consider another vocation as a child?
-Singing has always been part of Linares’s life; her father had a strong flamenco and guitar tradition. He was an amateur player who would sing at home, and from a young age she helped carry that flame. At five or six, she sang Christmas carols with him, and music has been present in every part of her life. Her father believed in the gift he saw in her and was endlessly supportive, encouraging her to pursue the art with confidence.
-Can you share more about the planned show with Maria Pagés during Awards Week?
The project centers on shared poetry and a common vision. Maria’s path mirrors Linares’s in many ways, and the plan is to present a collaboration that highlights both artists and their musicians. The anticipation is high, and the public’s reaction is eagerly awaited.
-Flamenco touches people across Spain and even moves audiences in Japan. What makes this art form so universal?
-Flamenco carries a blend of expression, musicality, and passion that transcends borders when performed with technical mastery and heartfelt emotion. It speaks directly to the soul, uniting audiences regardless of language or culture. Whether through guitar, song, or dance, flamenco’s emotional core resonates with people everywhere, proving that art can be a universal language that touches the heart wherever it is understood.