El cante Without embellishments, it can only be beautiful if the person who performs it does so with knowledge, with skills, with taste, with personality and with music in the voice and, in addition, is accompanied by a good guitar. On the night of Saturday, October 11, he stepped onto the stage of the Peña Flamenca Torres Macarena (Seville) the Arahaleño Antonio López, a young singer who already has enough experience and wisdom to say, “Here I am, to make you a repertoire that I hope you like.”
I greatly admire the respect this young man feels for the cante, and for him flamenco in every expression he displays. This respect is evident in his stage presence, his impeccable three-piece suit attire. He usually wears a polka-dotted scarf around his neck, flashing shoes, and, his most distinctive feature, a felt hat—not a pet—like the ones he wore. Manuel Torre and the same Antonio MairenaHis stage presence is impeccable. His words to greet the audience are accurate, fair, and kind. With his thanks to the Union of Peñasya Torres Macarena, who have made it possible for their performance to be scheduled on the agenda tonight.
He is an artist, and he brings it to its fullest expression on stage when he lets his voice be filled with the art of Andalusia's identity, knowing that he is recovering in his voice a precious legacy he has received with the gift of perpetuating it, maintaining it, and fixing it once again in the memory of those present. May we never forget what, from whom, and where we are born!
Executor of the canteWhether stale, ancient, orthodox, or whatever you want to call them, he updates them by putting all his freshness on the grill. If we had to name his masters here, it would be necessary to draw up a list from the first sonorous voices recorded on any medium to the present day, because I dare say he has heard "everything." But he, in his talks with fans, names the maestro of Alcores, the Torre, Pastora, to Enrique el Mellizo, to Caracol or el Pinto, as he does not leave behind his guitar teacher Eduardo Rebollar, who accompanies him tonight with his irreplaceable accompanying guitar, nor Calixto Sanchez, nor the lyricist Jose Luis Rodriguez Ojeda, to name a few.
As is the house custom, there are two parts. He begins with the caña, a bold reminiscent of the maestro Mairena, and the thirds must be carried through the entire scale until reaching the top. He speaks of fusion because he takes what he's learned from here and there to create his own interpretation, worthy of praise. A good introduction to put the audience that fills the room in context, although many of those present already know him and are aware of his qualities, because he's a regular at this venue. peña, where he frequently goes to listen to and see the recitals of other artists.
«Antonio López recalls the imposing struggle of man with life and draws it in his voice with a farruca that shook the audience. When the cante It is filled with truth, the interweavings of memory drop many memories. Eduardo Rebollar's guitar seems to cry with the air of muñeiras, enveloping the cante»
Below is the Mariana, with lyrics paying tribute to Francisco Moreno Galvan, from the pen of poet José Luis Rodríguez Ojeda, who joins us in the room. Lyrics that perfectly portray the poet, lyricist, painter, urban planner, thinker, and philosopher from Puebla de Cazalla, on his centenary. In the image and likeness of those composed by Moreno Galván himself, Antonio López executed it with all the difficulty that entails, placing each stroke of his voice in the perfect place.
And from the Sevillian countryside he transports us to Cadiz, the land of salt and rhythm, with alegrías that bring to mind Calixto Sánchez, loaded with lyrics of his own composition, and without forgetting Pericon, fishing on the seawallAs Henry the Twin, which filled the room with sea.
For tientos tangos you have to fight, that's what tientos are cantewith substance. Because your name is Aurora / I go to bed at dawn. A complete selection of tientos that culminate with an interpretation of the poems of Antonio Machado but our thing is to pass / to pass making way / way over the sea, to give way to another brilliant selection of tangos that travel across Andalusia until reaching Extremadura itself.
The singer recalls the imposing struggle of man with life and draws it in his voice with a farruca that shook the audience, because when the cante It is filled with truth, the interweavings of memory drop many memories. Eduardo Rebollar's guitar seems to cry with the air of muñeiras, enveloping the cante.
El palo which led us to the extreme supremacy of the jondo It was the liviana that, as the singer himself presented to us, "has a structure to [its] form, with an entrance, a large liviana, a double liviana, and a liviana from the maestro of Los Alcores, and a closing with a toná liviana. This is how he himself described it and how I transcribe it. A fine and exquisite morsel for ears that appreciate the depth of the great.
And the event closes with the bulerías that round everything off to say that it was a recital of great quality. It must be acknowledged that Antonio López is a singer and a great enthusiast, whose desire to learn knows no bounds, and who was born with magnificent personal and vocal qualities for the cante. We wish that your career is long and successful, because his youth suggests that he still has much to say and things to contribute.
Credits
recital of cante by Antonio López
Peña Flamenco Culture Torres Macarena, Seville
11th October 2025
Cante: Antonio López
Touch: Eduardo Rebollar
