Life sometimes throws you some nice surprises. You can imagine what a seguiriya accompanied by a positive organ will sound like, but experiencing it in reality is a very different thing.
That reality was brought to us by the Art Biennial Flamenco from Malaga, uniting a series of circumstances that made the experience magical: a simple yet majestic enclave such as Macharaviaya, the recollection of his Church of San Jacinto, a deep and knowledgeable voice like that of Bonela Jr., the young guitar of Bonela Chico and the mastery and sensitivity of Antonio del Pino to the harpsichord and the positive organ.
One might think that these instruments from centuries past would be excessively invasive for the cante and that communion was going to be difficult, but for that there was the subtlety and delicacy of Antonio del Pino, who knew how to merge with the cante and the guitar contributing to creating an atmosphere of solemnity that did not detract from, but rather, on the contrary, added a new perceptive dimension for the senses.
They started with one of the palos most grieving of the fan flamenco, the seguiriya, in its shortest and most poignant form, the jerezana, via Aunt Anica the Piriñaca y the Nitri, a very good choice for a recital like this one.
The chords of the malagueña thrilled us, Antonio del Pino knowing how to give the organ the accents of the cante and Bonela Chico's guitar in perfect communion. Bonela Hijo began with the preface of the malagueña of the Twin, again very pertinent, since it is said that this singer from Cadiz loved sitting in the cathedral of Cadiz to listen to sung mass and that it was from there that he may have been inspired to create his malagueña. He continued with that of Master Ojana, also with a liturgical air, to finish with cantes of Juan BrevaBonela knew how to overcome the difficulty of adapting to the tone of the organ, which conditioned the range of his cante, but which was fine-tuned at all times.
«In a place like Macharaviaya, birthplace of the Gálvez family, who became viceroys and ministers of the Spanish empire, the trip through the Americas that Bonela Hijo took us on seemed perfect, through the vidalita, the milonga of Niña de la Puebla and, as a finishing touch, a very flamenco interpretation of Carlos Gardel's tango Mano a Mano.»
Antonio del Pino sat at the harpsichord and played us some xácaras from the 17th century, which the Bonelas accompanied with palmas in soleá time. Not in vain, this piece associated with the picaresque and popular has been taken into account as a precedent in modes and cadences of some palos.
The soleá acquired great solemnity again in the union of voice, guitar and organ, perfectly in tune, in a harmonious whole that magnified the cante.
We were pleasantly surprised by the graceful and courtly sounds of the Folía on the harpsichord by Antonio del Pino, who once again knew how to give this 18th century dance nuances that brought it closer to its purpose. flamenco, accompanied by Bonela Chico on castanets, creating a piece of great beauty that delighted the audience.
If Bonela Chico was precise with the castanets, he demonstrated his technique and freshness interpreting the zapateado of Stephen of Sanlúcar, a guitarist who was characterized not only by his accompanying playing, but also by his concert solos at a time when very few guitarists did so.
Finally, in a place like Macharaviaya, the cradle of the family Galvez, who became viceroys and ministers of the Spanish empire, we found the trip through American lands that Bonela Hijo took us on through the vidalita, the milonga of the Niña de la Puebla and, as a finishing touch, a very flamenco interpretation of the tango to be perfect. Mano a Mano de Carlos Gardel.
A recital that shone for the quality of its performers, for its coordination and harmony, and for finding the perfect length, leaving us satisfied but with that aftertaste of wanting more. The Church of San Jacinto resounded with the applause of the audience on their feet.
Credits
Baroque flamenco, by Bonela Hijo and Antonio del Pino
IX Art Biennial Flamenco from Malaga
Church of San Jacinto, Macharaviaya, Málaga
July 11, 2025
Cante: Bonela Son
Key and positive organ: Antonio del Pino
Guitar: Bonela Chico
