La peña flamenca dean of all peñas, The Silversmith, in its desire to dignify the flamenco In all its artistic and professional expressions, not only does its programming defend the artists who take to the stage, but it goes further and values, promotes and appreciates all those people who fight and have contributed with their work to greater visibility of this genre. There are many professionals who for decades have been references of the flamenco Beyond being artists, which implies the obligation to recognize their magnificent efforts. This introduction refers to a character, said with the utmost affection and respect, who is very well-known, a tireless promoter from his armchair on the radio and television airwaves of this universal art. I refer to Manuel Curao, who, recently retired, is beginning to reap the fruits of so many years of sowing in the form of tributes. Thus, La Platería was kind enough to pay him homage and present him with its gold insignia in an intimate, affectionate, and special ceremony in many ways. The honors of the ceremony were Tito Ortiz, who has collaborated with Curao for decades, sharing discussions and profession. Manuel, an excellent speaker, wanted to have a few affectionate words not only with Tito but with the peña, with his work and his antiquity, which, with a joking spirit, left in the air the doubt of whether he is the oldest or not The Well of Sorrows From Los Palacios. After the presentation of a photo frame, the scheduled performance began, which we will report on.
He visited the scene of the emblematic peña the palatial one Kings Carrasco with the guitar of Ruben LaraThis young, studious, and already an artist, this singer is gradually moving beyond her promise to position herself in a complicated yet satisfying professional world. Behind her insulting youth lies a singer with a knowledge base that expands as she matures. Hence, her references to singers and teachers are all those who have left a legacy in history, and therefore, it is easily recognizable to identify who she turns to to complete her singing repertoire. She presented her own alegrías, personal, not to say disjointed in aesthetics and forms. We could say that she brings her own stamp, but the truth is that while it is appreciated that knows the cante, takes it to his land, sometimes paved, sometimes mountainous, which gives us a wide margin of judgment and criticism to be able to respond to what and how he sings. Rubén Lara's guitar has evolved considerably. Now it is not a millimetric imitation of historical guitarists, now it travels in its own way, in its own ship, without losing its way but emphasizing the necessary avant-garde that prevails so much. He begins with a soleá por bulerías in the guitar playing, which gives way to styles of Antonio the Peña with soleá finishes where the singer stagnates and where she did not emerge because from here she focused on soleá styles, Triana scraps, cantespoken and fractured at the ends, like the cante de Juaniqui and what seemed like a closure of the Deaf the Light adapted to its forms and well treated in the highs.
"The young, studious, and already an artist, singer Reyes Carrasco is moving beyond her promise to establish herself in a complicated yet satisfying professional world. Behind her insulting youth lies a singer with a knowledge base that expands as she matures."
It was in tangos that he expanded most, giving rise to a great stylistic variety that he knew how to connect and treat with enormous freshness, remembering the Girl of the Combs, Juan Villar, Antonio the Jacket and styles of Triana and Granada. Where he did not find his place was in the seguiriya, stretching out the thirds unnecessarily, rocking the thirds with decorum but without depth. He has good alto, which he prescribes in the cantes where they should be, but the tonal rises and falls were missing to give depth, especially to the end of the cante of the One-eyed Peña and its well-known faluchos, which Rubén did get when he remembered Jerez and Javier Molina. However, with the Cartagena of Chacon Yes, it was precise and personal and with the taranta of The Gabriela also.
Being in the land of Alhambra and Enrique Morente, wanted to recover his most solemn tangos, The star, demonstrating exceptional talent and lungs. He finished the performance with bulerías, with Rubén's toque, glancing sideways at Jerez at every turn, and with the presence of Pastora and Paquera from Jerez in each third, in the four muleteers, in the dark-skinned groom and also remembering Gaspar de Utrera.
He was so happy that at the foot of the stage he finished with fandangos caracoleros, another dedicated to the elderly and a final one of the Glory.
Credits
recital of cante by Reyes Carrasco and tribute to Manuel Curao
Peña The Silversmith, Granada
March 29th 2025
Honoree: Manuel Curao
Cante: Reyes Carrasco
Guitar. Rubén Lara
