Dolores Montoya Rodríguez, daughter of Juan Montoya, bailaor, and Antonia Rodríguez “La Negra”, singer and dancer born in Oran (Algeria). Thanks in part to the fact that her family was “one of the most intense and compact groups in the world of flamenco”, Lole could have the privilege of growing up since very small in prestigious tablaos such as Los Gallos (Seville) or Las Brujas (Madrid).
Lole came, as a teenager, to share the stage with people of the stature of Perla de Triana or Camarón de la Isla, this last intimate friend of Lole and Manuel, in 1994 they would dedicate a song entitled Arriba el Cielo.
The beginning of the discography of the couple took place in 1975 with the edition of the disc New Day (Movieplay), a surprising success that allowed them to be favored by the public from the beginning.
Success that would continue during the following eight years with the successive edition of works: Pasaje del Agua (CBS, 1976), Lole and Manuel (CBS, 1977), Al Alba with Alegría... +
José Miguel Évora
...(CBS, 1980) and Casta (CBS, 1984). Raimundo Amador, El Niño Jero, Álvaro (from Dulce Venganza) and Manolo Marinelli (from Alameda) are just some of the many names that appeared as collaborators during those years.
At the end of 1986, two years after the publication of “Casta”, they decided to separate.
Since beginning his solo career, Lole has recorded two albums: Liberado and Ni el Oro Ni la Plata, as well as performing at festivals such as Jerez 2004, or the XV Bienal de Flamenco de Sevilla, accompanied by Seville pianist David Peña Dorantes
Lole, the artist who set a trend by forming a duo with Manuel Molina, muse of a generation that dreamed and struggled to be free and that today is a reference of authentic personality, pure racial and sincere duende, continues with its particular search for innovation, personality and flamenco creativity.
For this, he has had real-life collaborators such as Vicente Amigo, Felipe Campuzano, his daughter Alba Molina, the Montoya family (Angelita, Andina and Lucía Montoya), the great musicians José “Pepe” Rivero, José Acedo, Manuel Moreno “Morao” , Paco Iglesias, Francisco Santos “Currito”, Luis Amador, Juan José Amador, Ricardo Moreno, Ramón David “Caracolillo” and José Israel “Caracolillo”.
Lole has a close connection with the Arab world because her mother was born in Oran, Algeria. His parents loved Arabic music, even once installed in our country, they received packages from their relatives with some Arabic records, which Lole listened to with the hope of learning them, even though he did not have a good pronunciation and sometimes did not know the meaning of the words.
Nowadays, thanks to Lole’s love for everything Arabic and the help given by Egyptian teachers expressly hired to teach him classical Arabic, Lole understands and perfectly speaks that language. Lole embraces the purest classic Arab style. Contact that marked his professional career, so that among other curious things came to be invited by King Hassan to sing at his palace in Rabat.
In 1991, the first artistic reunion of Lole and Manuel was in style at the Teatro Lope de Vega in Seville.
He meets Manuel again in 1992 with the interpretation of some fragments of Falla’s Amor Brujo. From this event was left for the story a recording edited by Pasión with the title of Lole and Manuel sing to Manuel de Falla.
The next step will be given a few years later, in 1994, when Virgin Records makes a masterful release of the sixth official recording of Lole and Manuel together, entitled Alba Molina, in honor of their fifteen-year-old daughter they had in common. “Never the return of some artists had awakened so much expectation just with the news of his return”.
Lole is rediscovered in all the projects she covers since she began her solo career, creatively fighter, quietly wise. Claim the truth. In 2002 he performed in the Original Flamenco show sharing the bill with Diego Carrasco at the San Miguel Auditorium, as part of the events held at the XII Flamenco Biennial in Seville.
In June 2005 he participated in the FestiMadrid with Luis Palau, held in Madrid. From then on, performances take place in different parts of Spain and abroad. He performs at the World Music Festival in Sines (Portugal) accompanied by the great musicians who accompany him, Luis Periquín, Manuel Morao, etc. An intimate accompaniment adapted especially for the theatrical stages, as she says.
Lole Montoya took the stage in a special concert that hosted the Quintero Theater on 23 and 24 January 2015. She presented a new live proposal in which the artist takes a step forward in her extensive professional career.
Lole divided this concert into two parts: a first one in which he was in charge of paying homage to his artistic career with well-known songs from his repertoire such as Canto al Silencio, A Tale for my Child or Tell Me, and a second part where he showed that he continues to grow and evolve within the musical universe with new sounds ranging from Antonio Machín to Frank Sinatra. The surprise was the appearance of his daughter Alba Molina. He currently continues touring the stages throughout Spain with shows paying homage to his professional career and combining it with his most innovative facet.
He says he perceives a “visit” when he creates; and that every day he tries to compose not only music: thoughts, sensations, instants … He feels that he serves what he did when he notices as if dictated, because then a fluid guides his hands through those giant teeth of the keys of a piano. In that effort everything influences: volumes and colors, and even the furniture that surrounds him. He dismantled the puzzle of the classics piece by piece, like the engine of a car, and put the pieces together again to reveal all the secrets to the most beautiful melodies. That gave him a certain dreamy aspect, like Harry Potter, an expert in musical magic for artists such as Camarón, Enrique Morente, José Mercé, Miguel Poveda and Rocio Jurado among many others. He never made the account of the Gold and Platinum records obtained, which did not hang from his walls. He made subjects that for more than thirty-three consecutive weeks were number one in the sale lists... +
...in different countries. More than six hundred works published from China to the United States, from South America to Israel, from Sanlúcar to Sanlúcar. Évora has composed for the greatest in different genres. And his symphonic works have had public and professional recognition with orchestras that have played them under his baton, as prestigious as the National of Spain, the RTV, the Madrid Symphony, the Castilla y León, the Malaga of Cordoba, the national of Catalonia and the City of Barcelona, the Symphony and the Philharmonic of London, the Munich, the Prague … and continues. Last year, the National Ballet of Paraguay – for whom he composed it by order, – premiered his ballet “Las Moradas de Teresa”. “Sinfonía de la Luz”, on March 2 last year, premiered at the Teatro de la Maestranza under his direction with the Royal Symphony Orchestra of Seville. On the fourth of this month, he received in London the “International Independet Film Awards” and the “Gold Winner 2016″ for the best soundtrack for “Happy those who mourn”, and the Vatican for the best sacred music for the same title . He did not go to pick them up. In December of the same, the Symphony Orchestra of Mexico City, premiered a Symphony tribute to Paco de Lucia that he composed on behalf of the family and the Ministry of Culture.
As a lecturer, it is enough to review the five lectures that, at the invitation of the teacher Jehudi Menuhin, which he attended from the first row asking him to expand them privately and inviting him to his house afterwards, he taught at El Escorial before more than one hundred professors orchestra from across Europe on the 25th anniversary of the String Teachers Assotiation; organization that presides honorific S.M. Queen Sofia. Also at the University of Seville; and others at the University of Cádiz sponsored by the Projection Vice-Rector’s Office
International and Cultural, and the presentation he gave at the second National Congress of Music Education to more than two hundred and fifty professors. And continues.
In this space and in this time, I shut up more than I say, so as not to become impertinent.
José Miguel Évora, who forgets almost everything, never forgets the most rigorous and demanding lesson received; the one that his mother because he did not like the “artists” accepting on condition dictated him: “Do what you believe, but do it well”. Sensitive, humble, incorruptible and of unlimited curiosity, he inhabits a weightless and energetic aquarium where he mixes an ancient wisdom with the risky desire to find points of balance in the universe.
José María Arenzana.