There are times when one goes to a festival of flamenco With the conviction that things will turn out well. The taste you'll leave with will leave a lasting impression, and your energy will be recharged for a considerable amount of time. This time, the poster was created by the universal artist of the land. Pedro Rodriguez, and on the boards of the stage of the booth at the fairgrounds of the peña flamenca A range of young and accomplished artists were present, giving us a taste of an art that some of us are passionate about.
Ramón Arroyo Parazuelos was in charge of directing the gala. His person is intrinsically linked to the festival and the flamenco of the earth. We cannot understand the last half century of flamenco from the province of Huelva without the active participation of Ramón Arroyo. Radio man, flamenco and a member of the club by vocation, constitutes in itself an experiential archive of what has been his own Moguer Festival throughout his long career.
This edition paid tribute to Joaquín Pipón, one of those references of the Moguer fans, sadly disappeared a few months ago, and on the stage a generation of artists born, at least, almost a decade after the foundation of the Peña de Cante Jondo from Moguer and of the festival itself, which is still promoted by the festival itself today peña with the invaluable support of the Provincial Council and the local council and its mayor Gustavo Cuellar, tireless in its commitment to the cultural heritage that constitutes the Peña and the Festival for Moguer.
The guitarist opened the night Alvaro Mora. Sensibly moved, Álvaro moved everyone in attendance. His first touch of the taranta served as a prelude to the emotion that the Moguer native gave us throughout the hour-long concert. A guitar full of sensitivity. An artist who has evolved in a few years to what others fail to achieve in a lifetime of artistry. Today, Álvaro is an undeniable reality, capable of making us shudder with a guitar solo, being the color palette for any dance artist, or the faithful and seamless accompaniment that brings security to the audience. canteHis soleá playing enveloped the night in a halo of flamenco that seemed to call to the throats of the masters of this cante. What subtlety, what a cascade of notes that, with barely any preparation, brought the sounds of Alcalá, Cádiz, and Triana into the Moguer night. The farruca reminded us of old masters, serving as a prelude to playing alegrías in time with The Twins. Then he went up Antonio Núñez The Flea to accompany us with his voice during the fandangos. If Álvaro gave us the full sound of Huelva's land between his six strings, he in no way diminished the contribution of the Chiclana native, who also gave us a little bit of bulerías, accompanying Mora in his final performance of the evening.
«Jesús Corbacho has been trained in the cante from behind. Her guajira made us imagine that we were traveling from Havana to Moguer between waves of foam in the swaying of the dancers that we have enjoyed dancing so many times cante from Huelva»
Moguer then returned to the stage again. Mari Angeles Cruzado, cante, Francis Gomez on the guitar, Lito Manez on percussion, and the Huelva Universal Symphony Orchestra of the San Sebastián Neighborhood, Lolo and Antonio Saavedra The Twins, in time. Malagueña and jabegote opened his performance. What a powerful voice, what an artist eager to please. He continued with the cante Mariana and tangos. Classic lyrics and reminiscent of Granada's airs. In the siguiriya, we had the best version of Mari Ángeles. She grabbed us by the lapel, and there came a time when we couldn't tell if the cold was coming from the fresh country night or if it was her brassy voice interpreting those lyrics. bell ringing of San Juan de Dios and the cabal of Silverio and the immeasurable guitar of Francis Gómez. He continued with a series of cantiñas, ending with fandangos. He reminded us of the airs of Huelva, Alosno, and Santa Bárbara de Casa, and ended with the fandango of Pepe Rebollo, which alone made us deserve to be present at his performance: Moguer is the light of day / with his donkey Platero / Moguer is the light of day / Juan Ramón the time inside / Moguer is cante and it is poetry / for his art I die.
I have no choice but to highlight Francis Gómez, a guitarist who elevates to the category of music with a capital M. flamencoBeing flamenco From the staff to the bonus. I'm left with an expression from the Huelva journalist Miguel Angel Fernandez: It is an artistic guitar, born from an artist and expressed by an artist.. What a level.
From the sand of the enclosure it began Jesus Corbacho giving us the proclamations. A cante which is perfectly savored in the qualities of this unique artist with his own personality. With the guitar of John Requena, took us to the Levante region, where he demonstrated why he's the last miner's lamp in La Unión. His qualities and powerful voice transported us back to bygone times with the guajira. Remembering the maestro Pepe Marchena, he explained to us the flamenco melodies that this song needs. cante. Jesus was trained in the school of “cante from behind”, to whom he paid homage throughout the night. His guajira made us imagine that we were traveling from Havana to Moguer between waves of foam in the swaying of the dancers that we have enjoyed dancing so many times to cante from Huelva.
Let the cathedral sink / let the canopy sink too / if I look at you againWith this letter Jesus took us to Triana. cante The soleá grew louder in his throat. It brought back memories of the masters of the old suburb, it came out of him and reminded us of Pepe Pinto to return to Triana.
"He is one of the dancers of the moment. His aesthetics and grace capture attention. (…) Juan Tomás de la Molía is flamenco "on all four sides. He throws his hands up in the air and isn't afraid to use classic techniques."
His tangos brought back memories to Extremadura –Juan Cantero y the Marelu, among others - as well as that Juanito Villar that in the late 70s and early 80s gave us goosebumps. The rhythm of the tireless Mellis and Juan Requena's guitar continued to provide the necessary extra boost. He continued with cantiñas, interweaving them with soleá sections and returning to the Cádiz air. A commitment to the creation of what he himself called a living art. He said goodbye to the stage by reaffirming his love for Huelva, the land of his birth, singing fandangos.
The dance was performed by Juan Thomas de la MoliaThe dancer from Trebujena, accompanied by Breast y Sebastian Sanchez al cante and the veteran Eugenio Iglesias On the guitar, he filled the stage with his dancing skills. He is undoubtedly one of the dancers of the moment. His aesthetic and grace capture the attention. The joy was full of force, eliciting the olé from an audience that lately, except on rare occasions, has been bored with dancers who have more to do with other dances. Juan Tomás is flamenco on all four sides. He throws his hands to the sky and isn't afraid to use classical techniques while adding a little bit of his personality. The soleá dance was just that, dancing to the cante Sebastián and Pechuguita, and Eugenio's precise and committed flamenco touch. I particularly highlight the singing and accompanying styles that made the Trebujena native shine even more.
And to top it all off, an earthquake. Perhaps one of the flamenco voices of the moment. Maria Fernandez Benitez, Maria Terremoto, accompanied by the Jerez guitar of Nono JeroHe came out on stage, as he always does, to give it his all. CanteWith martinetes they opened their show, engaging the audience with olés from the first second. The bulería por soleá, in their voice, no longer surprises me, but I like it more every day. It's a cante in which Maria moves with ease, dominating it from beginning to end. It brings us the flavor of a land, that of her paternal family, which is history and historiography of the cante. It continued with tientos and tangos, to continue with alegrías. In the bulería we returned to the racial María. Compass, cante and guitar are pure communion. A communion that all flamencoWe want to receive it in the form of a needle that sticks in our soul.
I'd like to take this opportunity to congratulate the festival organizers. Having opted for a young and high-quality lineup like this year's will be hard to surpass, although it's still a risk. This commitment has been well-earned by a majority of local artists, perhaps the result of the work that has been done throughout the province over the last forty years with young amateurs, with special attention to the schools created and well-run in this quarter of the 21st century. And it must also be said, the work of the artists themselves, who are developing as professionals day by day, looking back to what the classics left behind and contributing their courage, study, and personal uniqueness to benefit an art form that is the heritage of all. ♦
