La Sacromonte Abbey, within the framework of I Biennial of Flamenco from Granada, hosted a new recital of cante flamenco, one that left its mark on the public and on any good fan who knows the codes of cante. Because the singer from Huelva Argentina gave a hell of a recital. An hour and a half of cante by right, between the avant-garde and tradition, more oscillating towards the latter, but with an enviable aroma of freshness.
There isn't much new to say about this singer, since she is a recognized figure in the genre and we are not going to reveal what she is capable of. But the difference that exists between good artists and singers and others who, for reasons that are always guessed, are at the top without having contributed anything special is the ability to contribute something new, a discourse that moves away from copyism and the flat and light performance that is nothing more than a musical, melismatic and anodyne photocopy of the canteIn this regard, it seems Argentina has evolved considerably. In its eagerness to explore and break away from the norm, it chose a familiar but not hackneyed repertoire, giving it a personal touch so as to not sound like anyone else's. It contributed novel styles, some of them obscure and hidden in old recordings, which it has successfully rescued to bring notoriety and presence to the present.
Hence, when listening to the first verses of the Asturian, cante that incorporated Antonio Pozo The Owl to the collection flamenco, or rather, to his discography, we realized that we were in for a good treat canteFrom the Mochuelo's repertoire he also rescued the serrana and the change of María Borrico with the guitar of Eugenio Iglesias, but not before taking a flirtatious stroll through Cádiz and singing old tanguillos, those of Chalk Uncle. They were brief and sententious, fun and playful, with a speed in their voices suited to these sounds.
In the wide range of canteand styles that he gave away, he flirted with the zambra of Snail, which went from groping to fast tangos. Throughout the night he alternated with the three guitars he brought, each from a different location, that is, Jose Quevedo Bolita, from Jerez de la Frontera, Eugenio Iglesias, from Seville, and Francis Gomez, from Moguer. The latter accompanied her masterfully on tarantas, those of Fernando de Triana and the Gabriella.
«The singer from Huelva, Argentina, gave a spectacular recital. An hour and a half of cante "by right, between the avant-garde and tradition, more oscillating towards the latter, but with an enviable aroma of freshness"
For soleá he chose a good set of apolás starting with the soleá-petenera in the modes attributed to Silverio and finished off remembering the Moron pliers, cantes in disuse that suited his sweet voice range.
If he alternated on stage with the guitarists, alone, for the granaína he wanted to have all three, each one with a very different sound to start with the malagueña of Chacon in the tone of a rondeña, change the third to the granaína-malagueña of Cepero and to top it off with the great Chacón. He sang with the exquisiteness and restraint required by these styles, but also contributed a depth and flamenco quality typical of the masters he remembered.
Just after and in that display of breaking away from the established canons, we hear the lyrics associated with joys Two hearts are weighing on the same scale.or put in small rondeña, to remember Hyacinth Almaden in the big one and finish with the one Enrique Morente.
Halfway through the recital, they stayed on stage. Pellet to the guitar and Diego Montoya, Emilio Florido y Robert Jaen to the beat to create overwhelming bulerías, enormously rhythmic and accelerated, marked by setbacks on the guitar. Tonás de Pepe the Butt and seguiriyas for Argentina, which changed its wardrobe, now with a fuchsia suit, and only suitable for ears with taste. Through alegrías and with new lyrics, she summarized the capitulations of Santa Fe for us. She tried to finish with fandangos, in a broad overview of personal and homeland songs, but we wouldn't let her. She had to do the first encore with the cuplé of Fernanda and Bernarda from Utrera The whole world separates us and the second with the version of Maria the Portuguese de Carlos cano. Although he gave his organ in the round of fandangos, in which he once again gave us the echoes of Morente, of Cepero, of Paco Isidro, de Rafael Pareja-El Gloria, Juan María Blanco, and give it their all on the Huelva natives. In short, it was a very well-coordinated show, with first-rate accompaniment and the voice of an Argentinean full of talent, giving it her all and enjoying herself like never before, something she conveyed and which is only fair to acknowledge.
Credits
Habitat, from Argentina
I Biennial of Flamenco from Granada
Sacromonte Abbey, Granada
20th September 2025
Cante: Argentina
Guitars: José Quevedo Bolita, Eugenio Iglesias, Francis Gómez
Palmas and choirs: Diego Montoya, Emilio Florido, Roberto Jaén
