The day here usually starts very early. Around eight thirty in the morning, the press, artists, members of the organization of the Flamenco On Fire They meet in the cafeteria (buffet) of the Three Kings Hotel And from there it doesn't stop until late at night. The fatigue is barely noticeable, or at least that's the information you have to send to your mind in order to endure until the end. On Thursday, August 28, after twelve hours without disconnecting, I witnessed a new dawn, an electric charge that gave me the energy to continue dreaming of the flamenco as a path to happiness. It was his fault Alba Heredia, a dancer from Sacromonte in Granada who carries in her genes the lineage of Mario Maya, Marote and ManoleteAt the age of four, she began dancing in public, in the caves. She was born in the Cueva de Rocío, and that's how she named this recital, given at almost midnight.
Seguiriya, tangos and a soleá with a bulerías finale served to leave the mark of his house, the flag at the top of the dance flamenco and gypsy of today. Unpredictable and bold, she is able to connect with all audiences, she gets off the stage and interacts. It's been a while since I've seen anything like this, holy medicine. The flamenco dancer has recently become a mother and was more sensitive than usual, giving one hundred percent. Juan Jimenez, the percussion of Lucki Losada, the beat of Robert the Moreno and the cante de Jose del Calli y The ball were the best driving force for this thoroughbred dancer.
The Ball, Ismael de la Rosa, came from singing with the guitar of Jose from Tomato at the Pansequito Space, renamed by the festival management. The echo of the remembered singer resonated as the audience entered, and we were filled with nostalgia. Their recital was brilliant; the future has arrived. This is the cante And the touch that is there and will be, must also be this way because they interpret from tradition, with a current image. Pronouncing each lyric, each note, respectful of the audience, delving into memory.
«Seguiriya, tangos and a soleá with a bulerías finale served to leave the mark of his house, the flag at the top of the dance flamenco and contemporary gypsy. Unpredictable and bold, Alba Heredia connects with all audiences; she gets off the stage and interacts. It's been a while since I've seen anything like this, holy medicine.
The guitar had a presence with José Antonio Rodríguez, a Cordoban master who the day before was a key piece of the Alzapúa III. On this occasion, in Sabicas SpaceWe saw him solo, and he gave a great recital of guitar playing with uniquely executed harmonies and cadences. I heard him from a few feet away, as if we were all in a single room. One thing I don't usually mention, and I think it's important to do so, is that 80 percent of the activities at this festival have free admission, like the José Antonio concert I'm telling you about. There's a family audience, children who are mesmerized, usually remaining silent until the performance is over, and that's when they give a generous ovation.
Balconies are always exciting. Duquende The day began on Thursday from the Pamplona City Hall, where the chupinazo, with July Romero and palmas de pescaíto y Christopher SantiagoThe singer is in great form and is once again outstanding. Tomatito I was in that room, touching her palmas without the public knowing anything. How one laughs with Tomatito! From one side to the other without hardly breathing, meeting along the way, as shown in the photo, two flamencoThey were singing fandangos from Huelva in the middle of the street. Boy's Laces I was on the balcony of La Perla, another hotel that lends itself to the initiative. The audience was once again eager, eager to hear the musical and creative talent of Dolores's son, Manuel Agujetas's grandson. He plays and sings simultaneously, and both make you cry with emotion. His lament is so distinctive it needs no definition.
And in Bulwark, the big stage, Antonio Najarro He took his company to express the Sleepwalking Romance Lorca's work, using a dreamlike, intangible language filled with Granadan references such as the Alhambra, nature, the moon and the sea, and the foggy forest. It's a great production, with a fourteen-member dance troupe (I could have been mistaken) and a strong audiovisual presence to support the dance movement. flamenco, Spanish dance, folklore… A dream we don't want to wake up from. ♦
