MUSIC REVIEW : Four Romeros Return to Hollywood Bowl

Contrary to a popular impression, the four Romeros, who have been called “The Royal Family of the Guitar,” have not appeared at Hollywood Bowl every single summer since their debut there, in 1966.

Of course, father Celedonio’s three sons--Celin, Pepe and Angel--have each, individually, made a number of solo appearances at the outdoor amphitheater in the intervening summers.

But as a group, the guitar ensemble, returning to the Bowl Wednesday night on the 1988 Virtuoso series, was making only its sixth appearance in Cahuenga Pass. It may or may not be pertinent at this point to note that on this occasion an audience of 10,542 attended that appearance.

But who’s counting? What mattered most at this latest family concert--when the four guitarists of the clan were joined at mid-evening by Angelita, the three sons’ mother, on castanets--was the happy sense of continuity in the Romeros’ performance, the joy they obviously take in entertaining their public, and the freshness all four still bring to their playing.

With his energetic stage entrances and his authority at the instrument, father Celedonio--who turned 70 in March--still sets the pace. His too-brief solo set, consisting merely of his own “Danza Andaluza,” displayed again his familiar command, musical elegance and strong projection.

His sons’ solo appearances, of course, did not disappoint.

Angel, the youngest, gave a stylish and deeply convincing performance of a “Suite Espanola” by the ground-breaking, 17th-Century guitarist, Gaspar Sanz. Pepe offered bright, irresistible readings of three pieces from his father’s “Suite Andaluza.” And the quiet oldest son, the self-effacing Celin, played a movement from Moreno Torroba’s Sonatina in A--exquisitely.

The concerted sets offered their own variety. A set of three zarzuela excerpts, from “La Revoltosa,” “Bohemios” and “La Verbena de la Paloma,” started the evening off with musical good cheer. A “Carmen” Suite closed the first half hummingly. Selections from the works of Halffter, Moreno Torroba and Rodrigo paid appropriate homage to 20th-Century Spanish composers. And the closing group, ending with traditional flamenco expressions, became a rousing finale.

The single encore was a Malaguena by Celedonio Romero.