Jose de la Tomasa I was sitting at the end of the Guillena Bullring (Seville) to enjoy its 18th Bulería FestivalIt happened on Saturday, July 5th, possibly the night when the most festivals were being held in Andalusia at the same time: this one, Gazpacho de Morón, the Bulería Festival in Torremolinos, the Flamenco Night of Zambra, the San Roque Festival too… and many others scattered around. Well, the current maestro of cante from Seville, who lives in this town, came to "clear my mind" and enjoy the artists on the lineup. Truth be told, and given how demanding the Tomasa artist is, we don't know if he ever got emotional or not, but I was delighted to see him and hear him whisper his great, poetic lines in my ear. "Garrido, how lucky you are... Do you know what it's like to be born next to a bunch of grapes?" he said, praising Jerez, the land of his Torres ancestors.
Around Joseph, always the youth of the Peña Flamenca The brook, who is in charge of artistically coordinating this event, which had a fairly decent turnout and lasted until 3 a.m., later than other editions. We always ask for the first applause of the evening (I'm the presenter) in memory of Alberto Valdivia Arteaga, one of the main lungs of the peña and of the festival that passed away in January 2022 and whose name has headlined the lineup ever since.
"Garrido, how lucky you are... Do you know what it's like to be born next to a bunch of grapes? That's what José de la Tomasa told me, praising Jerez, the land of his Torres ancestors."
To start the night, almost at eleven, were the winners of the 28th Amateur Competition that were held in April (the final) by those in charge of going up on stage. First of all, the dance of Paola Almodóvar, from Almuñécar, and the second of them, in the modality of cante, Juanelo. To comment, this singer is enjoying an important moment in his projection, placing himself in a privileged place. In a few days he will be the protagonist in one of the nights of the Lebrija Snail, almost nothing. The short break gave way to one of the highlights of the evening. Pastora Galvan came out from the audience, with his ballet flats, with his guitarist and singers. Incidentally, what skill with the sound to make such an impact. People recorded with their cell phones, Pastora He moved the scene to the arena, strutting with the elegance of a bullfighter, and dazzling on this beautiful summer night. Once at the top, he performed his homage to Triana and danced his soleá. Lavi y Antonio Villar, outstanding, and Paco Iglesia, with honors. They brought the audience to their feet.
Antonio Reyes went out and took the cat to the waterHe connected seamlessly, especially in soleá and in seguiriya as well, and Pedro El Granaíno, who was leaving later, would tell me, "Oh, my Antonio, you're making it so difficult for me," always with a smiling, sporting gesture. Remember that in #FromWithin We don't comment on shows as usual chronicles, but we have no choice but to highlight certain moments of ecstasy like the one the Chiclana native, in a moment of inspiration, provoked. El Granaíno has experience, years of stage presence, charisma and the voice to give the audience what they demand. Although air conditioning often plays tricks on voices, according to the artists themselves, Pedro rolled up his sleeves so that with Carmen with bulería the assistant stood up.
The atmosphere was still festive, hardly anyone moved from their seats and it was three in the morning, exactly three, when Pastora Galván danced for Antonio Reyes in an improvised—though classic at this festival—closing performance. It's the moment when people who aren't on the bill come out; those who are on the bill don't always go up on stage because they've already left, or those who do go up do so in more street clothes because they changed right after their performance. It's a moment that's generally liked, applauded, and appreciated. On the other side of the stage, in front, right on the opposite side of the bullring, all those young people (some of whom already have children) with their good style and the desire to continue fighting for the flamenco from the roots and for a festival that, even as it celebrates its anniversary, will continue to rely on hope as its foundation, just as it did when it originated. ♦
