After sweeping the Festival Flamenco from Nimes with the world premiere of Manifesto, his latest album, was playing in his hometown. Maria Terremoto She has returned to her homeland to burst the crowd with emotions in a cathartic ritual of healing liberation that heals wounds like a mother's saliva. At twenty-five years old, she can also suffer, tell about it and sing about it on the wooden platforms that have withstood the quintals of the profound depth of her nakedness thrown to the four winds to rid herself of "pain, sorrow, fear and anger."
Manifesto It is perceived as the heartbreaking ceremony of a hurt girl who opens herself up to savagely tear out her fat nipples by the roots and blossom from darkness to woman. “Where am I going? I don’t know what I sing, I don’t know what I want, I don’t know who I am (…). I am not one of those who say I won’t drink from this water. If I don’t make mistakes by failing… How am I going to learn?” The show runs between uncertainty and firmness, between doubt and the indomitable decision to do whatever she wants, uncorseting herself and honoring her surname to step firmly on a hurtful past that makes her powerful and irreverent with a cause in the search for her own identity. It is a song to creative freedom in the flamenco –and life– that runs parallel to his personal history. Maria is young, old-fashioned and modern at the same time. She is a singer and a cantaora. It is whatever it wants to be, beyond the outdated judgment it leaves behind, not to be reborn but to break free and continue on its path, doing it as it goes.
All this is manifested with the cante, the costumes, the lights, the shadows and the lyrics of her own hand that are projected on the stage background to support the narrations and the music, sometimes combining the traditional with synthesizer arrangements and recorded choruses. But always flamenco, without going beyond the pot, blurring the limits, but putting her name to malleable borders that wave at her ingenious will. Even Its singing forms remind us of those old slate records And yet in other passages he refreshes orthodoxy with exquisite taste.
«María Terremoto created a huge mess in a packed Villamarta, which applauded to the point of satiety an autobiographical work in which she gives herself without hesitation, bare-chested. Tremendous, masterful!»
The curtain revealed Mary covered with a veil, bathed by the zenith. And she cried inconsolably for romance challenging death that came to her house and left her alone with her mother. "How can you come and take away what had no evil? We have pending accounts, you do not win the game." And from here It gave me a little pinch in the fibers that left me sad until the final ovation.
She asks her soul not to leave her body, rediscovering the petenera with a singular, suggestive accompaniment, with an almost medieval air. She takes off her veil and hesitates through soleá singing on a table. Then she collects herself and accompanies herself on the piano with a Lorca-style zorongo to lament with painful sweetness this world that does not let her breathe. She sits on the platform alone with her tears wandering with the memory of her father. Fernando poniendo Light on the balconies, stealing resounding and emotional oles from the public who share in the pain of his loss. The neatness and gypsy nature of Jerez Nono Jero on the guitar and the best palmas of the flamenco touched from the hearts of Juan Diego Valencia y Tarot They carried her away. Maria found peace in the abandoned ones, where she played a fandangazo of The Fat Man from Triana to the beat. And after strolling through Levante, pressing on the taranto, she sentenced two bodies by seguiriya smelling of cloves and cinnamon and searching in her guts for the sting left by the absence of her opaíto. She threw out the remains by licking her asauras. She did not need to fasten with the macho and the public broke into applause at such a splash of truth. She signaled her improvement by alegrías, she arrived boldly to freedom by rumbas making the fans sing the chorus, dancing the joy of her plenitude. And with a short black dress, she celebrates by bulerías the Manifesto "of everything lived and experienced."
Maria sings how she wants and what she wants. And it sounds like her. Her artistic and personal maturity is astonishing to the point of being insultingly overwhelming due to the quality of her talents. canteHe tunes, vocalizes, curls his turns, complains, modulates, dominates the bass and rises in the wild thirds without stridency. He excites and transmits. He has it all.
She tightened her body so as not to feel so much pain. She fought immersed in the conflict. She broke, grew and finally showed herself here safe and sound. She walked the path from darkness to light. She told and sang in a captivatingly deep and sensitive way. She spat out her intimacy in a diva show to subdue stages of all audiences, flamencoSo no. María Terremoto created a huge mess in a packed Villamarta that applauded to the point of satiety an autobiographical work in which she gives herself without hesitation, bare-chested. Tremendous, masterful!
Credits
Concert to present the album 'Manifiesto', by María Terremoto
Villamarta Theatre, Jerez de la Frontera, Cadiz
February 1th 2025
Cante: Maria Earthquake
Guitar: Nono Jero
Palmas: Juan Diego Valencia and Tarot
