He was playing at home. Here he is loved like a son. The queue to get in was an eternal stream of fans. The stadium was packed. peña. Torres Macarena opened its doors to the humility of dance. Seville responded at the feet of Emilio Castaneda just as he is always there for everyone unconditionally. He is an artist and flamenco even breathing, a die-hard fan, a friend of his friends, very good people. He lends his palmas you keep time and your little kicks to any flamencoHe surrounds himself with the cream of the gypsy scene. And now that it's his turn to dance for his own people, with great responsibility, nerves, and respect, he left his heart on the stage, wrapped in cotton wool as it deserves.
He opened with a guitar solo. Eugenio Iglesias, who caressed the strings and held the painting during the recital with the elegance that his surname holds, filling the accompaniment with falsetas full of flamenco cante and to the dance, always in its place.
"Emilio Castañeda has plenty of rhythm, and he showed it on stage. (…) He excelled in the soleá, where he demonstrated that less is more and that the walks, the pauses, the glances, and the silences speak volumes in the dance, without the need for a fight with footsteps. He was ingratiating and playful in the bulerías finale, manly, without any stridency."
David El Galli dazzled again with his cante rajao of hot pinches, starting with a taranto from Almería, along with Antonio Amador and Juani of the Three Thousand, who sang dark-skinned zamarreones with their untamed moans, clasping the Cartagena style. The swaying of the canastero tangos preluded Emilio's dance of alegrías. Then, the singers wove the tonás in three voices, thundering with poise, before embarking on the solemn dance of soleá, culminating in bulerías and a festive finale joined by the dancers. Yaiza Wheat –tremendous and flamencona– and Margaret, in addition to the singers Dieguito Amador –sweet and tasty–, Joni Torres –with his age kick– and Dew Moon –fine and honeyed–.
Emilio has plenty of rhythm, and he showed it on stage. He danced a little alegrías, without wasting it, cutting the tempo well, with gallantry and dedication. But he shined especially in the soleá, where he demonstrated that less is more and that the walks, the paras, the glances, and the silences tell a whole lot in the dance without the need for a fight with footwork. He was ingratiating and playful in the bulerías finale, manly, without stridency. Precise but accurate. Without great technical displays, but with soul and without ojana, knowing he was average, but giving it his all. And he said he had this dancing skill, a little. But with a lot of taste, I might add. Emilio danced like he is. And it's gutsy. That says it all.
Credits
Dance recital by Emilio Castañeda
Peña Flamenca Torres Macarena of Sevilla
April 24th 2025
Dance: Emilio Castañeda
Cante: David El Galli, Antonio Amador and Juani de las Tres Mil
Guitar: Eugenio Iglesias
