404:"Pastora is the incarnation of flamenco singing, as Bach was of music. Geniuses of the size of this Gypsy appear in history only once in a while. She is a pontifical figure who links, through her personality, the illustrious past with the present renaissance. (...) We do not know what La Andonda, La Serrana, María Borrico, Merced la Serneta and many other famous women singers sang like, but it seems impossible that any of them surpassed Pastora Pavón in the vastness of her repertoire, the freshness of the voice, Gypsy
22:
394:"In some sort of way, Pastora Pavón was a revolutionary of the flamenco song, serving as link between the traditionalism of the last century and all the modernisms the current one, even the most detestable, which she did not reject without experimenting on them first, assimilating and enlarging everything that had some valuable element." (Álvarez Caballero 1998:249)
193:
This woman's voice is exceptional. It breaks the moulds of all singing schools, as much as she breaks the moulds of any built music. When she seems to be out of tune, she is not out of tune: on the contrary, she is incredibly in tune as, owing to the special miracle of this style and the passion with
377:
Even though she was a link between the traditional flamenco of the 19th century and the revival of traditional forms after the ópera flamenca period, as she kept many alive traditional songs and styles that were about to disappear, she was skeptical about the work of resurrection and classification
295:, as early as 1908, when she was only 18 years of age, a newspaper already stated: "La Niña de los Peines is justly reputed today as the best singer for tangos. She has a beautiful voice and a delicious style. At times, when singing, she seems to be crying" (Quoted by Ortiz Nuevo in
475:"With La Niña de los Peines, all discussion comes to an end: flamencologists, artists, flamenco fans, critics and everybody interested in flamenco, in general, state that she is the greatest woman singer to date." (Manuel Bohórquez, quoted by Antonio Reina in
102:
She never learned to read or write, and only learned to sing when she was already an adult. Her family were in dire need of money, so she started to sing regularly as a professional in the
Taberna de Ceferino, in Seville, and then spent a period in
40:
singer of the 20th century. She was a sister of singers Arturo Pavón and Tomás Pavón, also an important flamenco singer, and aunt to Arturo Pavón, the first flamenco pianist. Both brothers, Pastora and Tomás, together with singer
228:, Juan Talega, Manuel Morao, or Fernando Terremoto. In 1968, a monument was built in her honour in her quarter of Alameda de Hércules. In the last three years of her life, she was completely retired owing to
418:
in their own territory, the theatre stages, and achieving indisputable success with the old styles of seguiriyas, soleares, malagueñas, peteneras, tarantas, tientos and bulerías." (Martín
Salazar, n.d.)
131:
and other towns. In 1910 she made her first recordings, and in 1920 the Teatro Romea was paying her the highest fee it had ever paid to an artist. After that, she started a long series of tours in all
429:"Pastora Pavón Cruz, the incomparable Niña de los Peines, has probably been the greatest genius in the history of singing. An all-style interpreter, she completely mastered the fundamental songs (
220:(Spain and her singer), together with her husband, which she toured for a few months and was acclaimed by the critics. Then she definitely retired again. In 1961 she received an homage in
411:"Among women, I have never known an artist like Pastora, and I think it will take centuries before her equal is born." (Pepe de la Matrona, singer, quoted by Álvarez Caballero 1998:252)
374:(both condemned by purists) and took part in theatrical shows. However, she never abandoned the more traditional flamenco songs, which form the greatest part of her discography.
422:"it can be assured that there has never been a more prolific and encyclopedic singer than Pastora. Nobody has had her flavour, nobody has been her equal." (Antonio Reina in
495:, Fonotrón, 2004, — The complete collection of her songs, recorded between 1910 and 1950, in 13 CDs, including CD ROM with a study of her artistic legacy. www.fonotron.com
386:
were never the same thing in the voices of different singers, and they were but outlines used as basis for singers to improvise and create. (See
Lefranc 2000: 197-198)
260:
of which she preserved several styles like those of Ciego de la Peña and El
Marruro, which have reached our days thanks to her. She was a direct transmitter of the
318:
in history: "(", in our century, Manuel Torre, Niño Gloria, Pastora Pavón, Tomás Pavón, Manuel
Centeno and Manuel Vallejo." (Molina and Mairena 1979: 258).
849:
778:
352:, who marked with her deep personality such different styles as those of Chacón, El Canario, and Fernando de Triana. She also created her own
240:
in homage to her. In 1996, during the IX Bienal de
Flamenco, the autonomous Andalusian government declared the voice of La Niña de los Peines
844:
756:
696:
686:
299:). Mairena and Molina ( 1979:230) consider her, among the masters of tangos: "the supreme figure (...) singer and inexhaustible creator.".
670:
631:
585:
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196:
834:
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839:
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798:
638:
592:
268:, which she learnt directly from her author, but also left memorable recordings of many other soleá styles like those of
401:. A sombre, agonizing angel, who surpassed all measure, who embraced all emotions (…)." (Álvarez Caballero 1998:250)
829:
414:" there remains, towering, as a challenging unique figure, Pastora Pavón, La Niña de los Peines, battling the
194:
which she sings third tones and quarter tones, impossible to record on the staff. (Quoted by
Antonio Reina in
186:
151:
111:. In this town, she was not allowed to sing in public owing to her young age, so she sat as model for painter
801:—Her version of the Siguiriya of El Marruro, recorded 1928, shows her special ability for microtonal singing.
143:
371:
359:
She has been accused by a few critics of having surrendered to the fashionable trends in at the time of
273:
819:
814:
332:
Critics like Molina and
Mairena ( 1979:305), Martín Salazar (1998) also highlight her importance for
281:
154:
in order to reinvigorate the flamenco arts. She was featured as a professional performer, along with
124:
53:, who led the movement towards the revival of traditional forms in the decades of the 1950s-1970s.
760:
688:
Approaches to a "new" World
Literature: Romani Literature(s) as (re-)writing and self-empowerment
397:"We already saw, in the words of García Lorca, what La Niña de los Peines was when she sang with
269:
163:
50:
185:, Francisco Lema (known as Fosforito El Viejo), La Trini, or Frijones. She had also met in 1922
170:
and others. She was also chosen as one of the judges for the contest between non-professionals.
692:
666:
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212:, she came back to the stage, as part of several flamenco shows, together with artists like
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233:
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46:
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Along her career she met or shared the stage with many classical flamenco singers of the
408:
and catching vitality." (Ricardo Molina, flamecologist, quoted by Ríos Ruiz 2002:103)
808:
277:
213:
232:. She died in 1969, a month and a half after her husband. In that same year, singer
21:
398:
341:
182:
159:
66:
42:
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646:
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366:
345:
326:
322:
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36:(10 February 1890 – 26 November 1969), is considered the most important woman
799:
Samples of
Seguiriyas by Pastora Pavón and other traditional flamenco artists
580:, Secretariado de Publicaciones de la Universidad de Sevilla, Sevilla, 2000
303:
216:. After this, she retired for a few years, and came back with a show called
116:
128:
360:
261:
174:
37:
307:
292:
139:
62:
785:. Junta de Andalucía, Agencia Andaluza para el Desarrollo del flamenco
108:
104:
45:, were the inspiring models for the next generation of singers like
512:, Colección Quejío, EMI-Odeón, Madrid, 1997 — Partial compilation
329:: "Unrivalled queen of bulerías" (Molina and Mairena ( 1979:263).
224:, in which several well-known flamenco artists took part, such as
132:
20:
325:
into a completely flamenco style, and gave a definite impulse to
773:— Contains biography, analysis of his works, and audio samples.
685:
French, Lorely; Hertrampf, Marina Ortrud M. (20 November 2023).
65:, she started singing for the public as at the age of 8, in the
81:, a nickname she never liked), as she usually sang a stanza in
597:
Museo Virtual de la Niña de los Peines, section "Documentos"
356:, based on the one by Maestro Ohana" (Martín Salazar 1998).
643:
Museo Virtual de la Niña de los Peines, section "Life"
146:. This famous music festival was largely organized by
69:. Later, when she was singing at Café de la Marina, a
61:
Born in the famous quarter of Alameda de Hércules, in
779:"Pastora Pavón y el contexto sociológico de su época"
348:: "As we said before, Pastora was also an excellent
310:, a folk song she turned definitely into a flamenco
730:(Universidad de Granada 1962, 2d ed. 1998) at 111.
525:, Alianza Editorial, Madrid, Second edition, 1998.
510:La voz de interes cultural: La Niña de los Peines
363:, as she recorded many examples of the so-called
663:El gran libro del flamenco, Vol. II: Intérpretes
552:Diccionario Enciclopédico Ilustrado del Flamenco
691:. Akademische Verlagsgemeinschaft München AVM.
639:"Semblanza biográfica de la niña de los peines"
314:. She was also one of the main interpreters of
302:Her name has become inextricably linked to the
119:, she took part in the performances of several
626:, Asociación Cultural Guadalfeo, Motril, 1998
493:La Niña de los peines, Patrimonio de Andalucía
8:
759:. Centro Andaluz de Flamenco. Archived from
645:. Centro Andaluz de Flamenco. Archived from
599:. Centro Andaluz de Flamenco. Archived from
504:La Niña de los peines, voz de estaño fundido
382:or Juan Talega. In her view, songs like the
321:She was a landmark in the transformation of
593:"Rastros de Pastora recogidos en la prensa"
189:, who, in a lecture given in 1933, stated:
757:"Museo Virtual de la Niña de los Peines"
742:(Madrid: Alianza Editorial 1994) at 216.
619:, Diputación Provincial de Granada, 1991
677:
624:La malagueña y los cantes de su entorno
550:BLAS VEGA, José and RÍOS RUIZ, Manuel,
538:La Discografía ideal del cante flamenco
256:to perfection, excelling especially in
783:Museo Virtual de la Niña de los Peines
477:Museo Virtual de la Niña de los Peines
424:Museo Virtual de la Niña de los Peines
297:Museo Virtual de la Niña de los Peines
197:Museo Virtual de la Niña de los Peines
272:, Frijones or many other styles from
204:In 1931, she married flamenco singer
73:in Madrid, she acquired the nickname
7:
16:Spanish flamenco singer (1890–1969)
850:20th-century Spanish women singers
14:
728:Manuel de Falla y el 'Cante Jondo
85:style with the following lyrics:
252:A complete artist, she sang all
560:. Triste y Azul. Archived from
238:Honores a la Niña de los Peines
208:. After the parenthesis of the
390:Views on La Niña de los Peines
244:(Asset of Cultural Interest).
99:My combs are made of cinnamon
1:
845:20th-century Spanish singers
554:, Cinterco, 1985, quoted in
540:, Planeta, Barcelona, 1995.
665:, Calambur, Madrid, 2002.
287:Regarding her supremacy in
866:
536:ÁLVAREZ CABALLERO, Ángel:
521:ÁLVAREZ CABALLERO, Ángel:
142:, she participated at the
738:Ángel Álvares Caballero,
708:– via Google Books.
506:, Sonifolk, Madrid, 1997
89:Peinate tú con mis peines
723:Eduardo Molina Fajardo,
556:NIÑO DE LA ALBARIZUELA.
471:). (Martín Salazar 1998)
378:of songs carried out by
242:Bien de Interés Cultural
93:Mis peines son de canela
49:, Pepe de la Matrona or
622:MARTIN SALAZAR, Jorge:
615:MARTIN SALAZAR, Jorge:
558:"La Niña de los Peines"
144:Concurso de Cante Jondo
835:Musicians from Seville
825:Singers from Andalusia
372:cantes de ida y vuelta
202:
26:
840:Spanish Romani people
777:Steingress, Gerhard.
533:(First edition: 1994)
437:), the festive ones (
191:
187:Federico García Lorca
152:Federico García Lorca
79:The Girl of the Combs
75:La Niña de los Peines
34:La Niña de los Peines
25:La Niña de los Peines
24:
617:Los cantes flamencos
591:Ortiz nuevo, Jesús.
499:Partial compilations
218:España y su Cantaora
763:on 11 November 2009
661:RÍOS RUIZ, Manuel:
649:on 21 November 2006
603:on 21 November 2006
483:Partial discography
384:soleá de la Serneta
236:recorded his album
97:Comb with my combs
67:Seville Spring Fair
270:Enrique el Mellizo
164:Juana la Macarrona
30:Pastora Pavón Cruz
27:
755:Several authors.
740:El cante flamenco
698:978-3-95477-157-8
576:LEFRANC, Pierre:
523:El cante flamenco
455:cantes de Levante
210:Spanish Civil War
857:
830:Flamenco singers
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230:senile dementia
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820:1969 deaths
815:1890 births
789:19 November
767:19 November
653:19 November
607:19 November
568:19 November
350:malagueñera
306:and to the
138:In 1922 at
127:, Seville,
32:, known as
809:Categories
704:23 January
465:, tarantas
459:malagueñas
431:seguiriyas
338:malagueñas
266:La Serneta
258:siguiriyas
206:Pepe Pinto
175:Golden Age
115:. Back in
469:granaínas
451:peteneras
354:malagueña
346:granaínas
304:peteneras
150:and also
117:Andalusia
57:Biography
51:Fosforito
453:and the
447:cantiñas
443:bulerías
435:soleares
367:bulerías
327:bulerías
323:garrotín
38:flamenco
516:Sources
449:), the
308:bambera
293:tientos
222:Córdoba
140:Granada
63:Seville
695:
669:
630:
584:
544:
529:
439:tangos
399:duende
316:saetas
289:tangos
278:Triana
274:Alcalá
129:Málaga
109:Bilbao
105:Madrid
83:tangos
336:like
334:palos
282:Jerez
262:soléa
254:palos
177:like
133:Spain
125:Jerez
791:2006
769:2006
706:2024
693:ISBN
667:ISBN
655:2006
628:ISBN
609:2006
582:ISBN
570:2006
542:ISBN
527:ISBN
467:and
445:and
433:and
406:rajo
370:and
312:palo
291:and
107:and
479:).
344:or
280:or
264:of
123:in
811::
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641:.
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77:(
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