The performance grew. From seeming like just another flamenco dancer showing off his footwork, he culminated in a recital that dazzled with his talent. He not only shone with precise and powerful footwork, but he also knew how to stand still, look at the audience, create figures with skillful arm movements, sway his shoulders, and seduce with his jacket, embodying the very essence of elegant flamenco dance. Tete Fernández he was crowned in the Peña Flamenca Torres Macarena from Seville, enveloped by the scratched throat of pellizcos jondos of El Galli, the broken crystals that burrow from the bowels of Miguel Lavi and the cante de Juan ManzanoThe melodic and flamenco finesse of the guitar of Paco Iglesias He carried them better than in his arms to round off a night of art in which a Catalan dancer was able to demonstrate that despite being only twenty-five years old, he is already peeking out, aiming for the balconies of the greats.
Following the successful presentation of Angels Cruzado, opened Paco Iglesias' guitar to the ever-attentive call of Juani de la Algaba, dear friend, fan to the core and unique character of flamencoPaco unleashed a flurry of flourishes with a Levantine flair, although the initial melody evoked the tangos of The star de DyingHe exuded grace, impeccable rhythm, and deep, soulful falsetas, anticipating the soleá that El Galli dedicated to the artists present in the audience, especially to the master of cante Enrique the Extremaduran, who celebrated some memorable moments in the dressing rooms that transcended the sun-baked walls of the peña And then it thundered at the grand finale, which you can see in the videos below. El Galli tempered his voice, his voice aching from the very beginning, dragging the strains of pain down his throat. El Lavi followed suit, delving into his dark depths. And Juan Manzano, weaving garlands with powerful, hammering vocal blows in each of the verses.
"The lament grew louder with seguiriya, in which El Tete knew how to stroll and shorten time, taming the platform with blows of toe and heel, strong, serious and old-fashioned, standing out in the silences and the footwork of the finale"
But the lament grew louder with the seguiriya, in which El Tete knew how to stroll and shorten time, taming the stage with blows of toe and heel, strong, serious and old-fashioned, excelling in the silences and the footwork of the ending, before Manzano locked the lock with the cabal of The Sernita. Galli and Lavi tore each other apart, their pronouncements sharp and witty. Tete gave it his all. Or so it seemed, because after the delightful bulerías that followed in the second part of the recital, the dancer truly shone in the soleá por bulerías, displaying absolute mastery of the rhythm. He became charming and playful, enjoying himself and doubling down on the daring moves without seeking easy applause, dancing with the audience. cante with a striking personality. He surprised everyone and gave it his all, making this critic succumb to the evidence that He is already a great flamenco dancer who knows how to deliver sharp, sharp shakes where the tickles are felt.
Enrique El Extremeño brought the party to a close with his voice, a voice steeped in flamenco tradition. His son also joined him on stage. No no to accompany him on the guitar. And the teacher Carmen Ledesma, in addition to the very young flamenco dancer Yaiza Wheat, to leave us with sweet taste on our lips and tachycardia in our little hearts bruised from so many nights of revelry.
Credits
Tete Fernández dance recital
Peña Flamenca Torres Macarena, Seville
December 17th 2025
Dance: Tete Fernández
CanteDavid El Galli, Miguel Lavi and Juan Manzano
Guitar: Paco Iglesias
