"I'm going in." I only have three words to say to the crowd of fans in the queue at the Peña Flamenca Torres Macarena y Aurora Reguera She greets me with a never-ending smile at the box office. I know I have my place there, where I always have it. In the corner overlooking the aisle, in the third row, stage left, from where I roll with pleasure when the performance is good or feel my butt burn in the seat if the artists aren't up to scratch. But that day she wasn't there as a doorkeeper. She was already in the dressing room with a sack of nerves, a basketful of tender breaths, and a bag of sensitivity waiting in her throat.
It was her debut performance in this sunny house, hers. A recital for her. A die-hard fan, professional musician, humble, friendly, all heart, as it shone through the tulle of her immaculate white dress, brimming with illusion and purity, the real kind, the kind that needs no justification. She sang, played and accompanied the cante and to the dance.
An event was in store. Because we all love her there. And we were eager to see what she had in store to surprise us. She gave us nothing more than what always comes across: tenderness, affection, knowledge. But his skill with the flute and the taste with which he rocked the melody or sewed it together in fits and starts in the passages of substance were surprising. He made little touches. With his lips placed on the mouthpiece and when he opened his mouth to sing a few thirds of cante well felt. David El Galli He didn't leave her alone. He wrapped her in his warm nut of broken crystals that scratched the centers. His friend Kotoha He proved once again that it doesn't matter if you are born in Japan if you have the heart flamenco, because she danced in time, with grace, and showed off in a few of her performances, whether in alegrías, although it took her a little longer, or in the solemnity of a vibrant soleá where she strolled and stopped as one should. She put her foot down, stomping her feet. She gave an elegant arm movement, moved her dress well, and knew how to use the appropriate gesture for each performance. palo, knowing what he was doing and giving himself with the responsibility that corresponds, the necessary respect and dignity of someone who puts everything he can on the stage. Amador Gabarri He played with an enviable touch, the rhythm that every moment demanded and the flamenco that dresses him, spilling lime from his Utrera to Morón, where El Galli has cultivated the palate that pushes from the guts through his blessed throat, the one that shakes us no matter how many times we hear him writhing on the rush chair.
«Aurora sang with the flute, playing with semitones and cadences. The turns were recognizable, and she delicately blew the sweet lament. She did so with a recollection of the old ones. The stale lyrics, the timeless styles, the veneration for the roots came to mind.»
I wouldn't hesitate to speak out of spite if I were to blurt out some ugly things despite our friendship. But those who were there can confirm that it was a heartwarming performance of outstanding artistic quality. Musically and strictly speaking, flamencoIt's clear that Aurora is still in her infancy, and that Kotoha also needs to refine her approach. But they were easily pleasing in a unique performance.
It is not usual to hear the flute in a show flamencoAlthough there are honorable exceptions, such as John Grill. And in the history of this genre and "its derivatives", as I would say Ferdinand of the Dark-skinned, we know some incursions. More perhaps with the saxophone – since the Black Aquilino a Jorge Pardo–. I always remember the anecdote the guitarist told me Ricardo Minho, who saw his summer ruined by the narrow-mindedness of the 'avant-garde' or the experiments that the artistic representative disliked. Pulpo, which left them without a lot of festivals due to the 'audacity' of including the flautist and saxophonist in their performance Luis Fatal with the dancer Pepa Montes, the guitarist's romantic partner. Pastora Filigree She already said it in her magnificent and entertaining presentation of the recital. We don't usually see this instrument in paintings. And it doesn't look out of place at all. It seems like it's always been there. Even more so with the ease with which Aurora plays it.
He sang with the flute, playing with semitones and cadences. The turns were recognizable, and he delicately blew the sweet lament. He did it remembering the old ones. The stale lyrics, the same old styles, the veneration for the roots came to mind. And then he added the cante, looking at each other The Girl with the Combs and the fresh shapes that are worn today.
Aurora emerged from the dressing room playing the flute, her white robes standing out. And from there, to the warm applause of the audience, alternated the cante caramelized by her silky and new voice with the deep caresses of the instrument. Levantine airs, El Galli cradling the tientos tangos, then in tandem with Aurora, sensitive and virginal. Joys for the dance trilling with the flute at the feet and Kotoha's swaying. Light and seguiriyas, mournful falsetas from Gabarri, gañafones from El Galli and in the macho of Los Puertos Reguera wept the ducas. The soleá jiró in the melismas of the Moronense. And Kotoha was contagious, stopping the dance. The bell rang La Andonda, the very flamenco flute and the bulerías finish began in Lebrija and ended wherever they wanted. The friends got on for the final patá and the temple of the flamenco He applauded with enthusiasm and deserved reasons the one who opens the doors of the sanctuary every night jondo from Seville to welcome the fans. She dedicated it all to her grandfather. Well done, Aurora.
Credits
EmpeñaTwo for Seville – Flamenco flute recital by Aurora Reguera
Cycle of the Union of Peñas of Seville
Peña Flamenca Torres Macarena, Seville
June 9th, 2025
Flute and cante: Aurora Reguera
Cante: David El Galli
Dance: Kotoha Setoguchi
Guitar: Amador Gabarri
