La IX Art Biennial Flamenco from Malaga It was inaugurated on May 27th in the Teatro Cervantes with the show The Maharani awarded by the Luisa Palicio CompanyPreviously, the institutional opening ceremony took place, in which the Voice of the Voice awards were presented. Flamenco a Manuel Fernandez Maldonado and the Biennial Award to the journalist and flamencologist Gonzalo Rojo, a true institution of the flamenco from Malaga.
There was a lot of expectation, the tickets had been sold out for days, and there was an endless desire to see the Estepona dancer. Luisa Palicio to step into the shoes of the Maharani of Kapurthala to inaugurate a new Biennale. So much so that the institutional opening ceremony seemed like an overly long preamble, from which we highlight the emotion of Gonzalo Rojo upon being recognized by the entire Cervantes Theater, who applauded upon receiving the award at the IX Art Biennial Flamenco from Malaga.
The show The Maharani It is well resolved and tells us about the three stages of the life of the Malaga singer Anita Delgado Briones, which came to be Maharani of KapurthalaThe first, in her hometown of El Perchel, where the light bathes the stage in happiness with the sound of seagulls in the background, in a four-person dance by Luisa Palicio with her castmates, Coral Moreno, Milena Tejada y Marta Hermoso, which perfectly conveyed that feeling of joyful nostalgia from the days of youth, giving way to the Malaga café cantante scene with the performances of Chato from Malaga, José Losada Carrete –very applauded– and Remake –with what taste and flamenco they gave their little turn–, which being a number for the sole display of these three artists perhaps seemed a bit forced.
From Malaga we move on to the second stage, the move to Madrid, where Anita and her sister begin performing at the Kursaal café forming the duo The Camellia Sisters. Luisa Palicio and Coral Moreno represent that moment with a delightful dance for two with a fan, with the difficulty of doing it in the small space left in front of the curtain, in which, perfectly in tune, they created images of great beauty, always exuding elegance as house brandA single round of applause runs down the aisle between the seats. It's the Maharaja of Kapurthala, played by the flamenco dancer. Juan Fernandez, which suggests a courtship dance, but she runs away.
The cantiñas, with a Delia Membrive al cante In an absolute state of grace, they burst in, leaving the audience speechless, where the three dancers of the cast, each wearing red bata de cola, perform a brilliant number, where, in truth, we would have loved to see Luisa Palicio as well, since few dancers today move their bata de cola around Cádiz as she does.
"If her arms and waist are the embodiment of flamenco femininity, the power of her feet in the tapping is the rage, the millennia-old desperation of the history of this art."
That dance with a bata de cola was still a long time coming – patience, everything comes – but, in return, Luisa gave us a beautiful solo choreography with a shawl, in which her natural elegance was highlighted by her ethereal and intense movements at the same time, without fuss, making the difficult simple, flowing with the music of the violin. David Moniz In a symbiosis of great visual beauty that never ceases to be flamenco. And always interpreting, with her face and her gestures, she manages to convey that moment of intimacy and uncertainty before the big moment of the wedding.
Because the wedding is coming: Luisa lets herself be dressed by the sari, the typical garment of women in India, and gives way to Juan Fernández's solo dance of soleá, a sober dance that, nevertheless, has surprising and expressive gestures in his hands and gestures. The singers in the painting, Jose the Busty y Delia MembriveThey were enormous, squeezing us with power. The veiled bride makes her appearance, and they engage in a two-person dance of bulería and soleá, demonstrating happiness, love, and passion.
And in this that the guitar of Jesus Rodriguez –magnificent throughout the show, with a fabulous sound, taking command and musical development with great sensitivity, knowledge and versatility– brings us the aroma of Jerez, the recognizable sound of the Jerez bulerías for the appearance of Tomasa the Macanita, who sings to the bride and groom, with lyrics alluding to weddings and with his depth and their gypsy spirit provided one of the most graceful moments of the evening.
But everything has an end. Happiness is fleeting. And so we come to the third stage, that of separation, heartbreak, and sadness. Luisa Palicio conveys these feelings in a number in which she dances to silence, first, and then to the precise and evocative percussion of David Chupete, with the screen in the background reflecting her gestures. If her arms and waist are the embodiment of flamenco femininity, the strength of her feet in the zapateado is the rage, the millennia-old desperation of the history of this art. Delia Membrive sings to her in tientos, I want to be free like the bird that sings, cousin, at dawn, and Luisa, backlit, takes off her clothes and puts on –now yes– the train dress, and prepares to offer us a sublime ending. The couplet of little star castro The Camellia It is sung to us by another exceptional Malaga native, Vega passion, who with her strong personality, magnificent voice, and deeply emotional performance creates a moment of intense connection with Luisa Palicio's introspective and heartfelt dance. Both create a magical atmosphere, successfully capturing the audience and moving them. The emotional charge is so intense in both that they achieve catharsis in the audience.
With the fascination of someone who is aware of having experienced a unique and special moment, we bid farewell to the entire company.
Credits
The Maharani, from the Luisa Palicio Company
IX Art Biennial Flamenco from Malaga
Cervantes Theatre, Malaga
May 27th 2025
Dance: Luisa Palicio, Coral Moreno, Milena Tejada and Marta Hermoso
Cante: Delia Membrive and José el Pechuguita
Guest artists: Chato de Málaga, Carrete, Remache, La Macanita, Pasión Vega.
Guitar: Jesus Rodriguez
Violin: David Moñiz
Percussion: David Chupete
Capacity: Full
