The silence on the stage silenced the audience. The artists on the bill came out one by one and took their places on the stage. And the party began. The bulería por soleá unleashed the dancing of Eva Yerbabuena which, accompanied by the accurate percussion of Dani Suárez, the masterful guitar of his inseparable companion Paco Jarana, the cante fine and syrupy Ezequiel Montoya, the plaintive moan of Manuel de Gines and the large, elaborate bells that the palace has Michael Ortega In the gorge, he began to court the fans, who attended the ritual of the dance for the dance of Eva's jonda maturity.
She came without concessions to the avant-garde, without nonsense. Her speech was the depth and joy of dancing for the sake of it, reconnecting with her most visceral, flamenco, and emphatic Eva. Without needing to prove anything. And when Eva dances, she rules. Period. There are no more allegations. Eva is Eva. And the Yerbabuena thing is 'unnecessary' because everyone's heartstrings tremble and their skin crawls when they imagine her image spreading the aroma of her surname straight to the palate of those in the know. Eva shook the foundations of dance, returning to its essence before the flamencoMairena's cabales. It was in the run-up to the LXIV Festival of Cante Jondo Antonio Mairena at the Municipal theater Mairenero, in the Calixto SanchezAnd he left with his bag full of oles and palmas in time with a sublime performance, more than up to the standard required of a current dance master of her great stature.
The bulería por soleá tasted like a party, spontaneity and flamenco sucked. Between fuss and palmas, Eva released her hips to the sound of the amalgamWith a rounded arm movement, full of cuts, precise and strong feet, perfectly timed swaying movements, plenty of rhythm, and the perfect gesture. She danced with her whole body, her heart, and soul, giving it her all, baring her exquisite wisdom before a rousing audience that enjoyed the performance. From the tip of her heel to the curl of her bangs, everything was age. And her sharp, sharp little gazes outlined the silhouette of the duende in each of her moves and her figure as she gathered herself.
"She came to the avant-garde without concessions, without nonsense. Her speech was the depth and joy of dancing for the sake of it, reconnecting with her most visceral, flamenco, and emphatic Eva. Without needing to prove anything. And when Eva dances, she rules. Period. No more arguments. Eva is Eva."
The zenithals gave way to the singers, who alternated a few lyrics, searching through the tonás and the trilla of Ezequiel, the honeys of the corrios and the debla of Gines or the mecíos and rajaos pregones of Miguel Ortega, who was especially piquant throughout the night. They preceded the abysmal blackness of a stinging seguiriya in which Eva, who began in the chair, danced on the navaja of the duquelas stretching the emotional tension, hurting and shuddering with chills the audience, speechless before the offering of a dancer who opened her chest to the channel showing the blood of her deepest wounds. And with a halo of intimacy she stabbed the silent air with the macho of Juan Junquera Ortega's privileged and heartfelt nut, bending Eva's petite body, causing her ribs to crunch, outlining the end of the seguiriya path.
The blessed beep of an alarm clouded the beginning of Jarana's guitar solo. But then he melted into the soleá, pouring over the six silver rivers of his strings the musical sensitivity that very few possess. Paco is one of those touched by the magic wand. But he remains in the shadows, being one of the best guitarists and composers. flamencos of the current scene. And for a long time. A real beast.
Cantiñas de Lebrija, that of Carapiera and joys of Córdoba raffled off the voices of the group: Ezequiel, Manuel de Gines and Miguel Ortega. And in a little corner of the wood Eva danced to the cante, all alone for them, full of gypsy spirit –I know, she doesn't sell lime–, flirtatious and racy, flamencoNa and smiling. With her shoulders, with her eyes, with her arms, with her butt… The applause thundered. The audience was on its feet. Eva danced however she wanted. Eva danced the way Eva dances.
Credits
Show flamenco by Eva Yerbabuena
Previews of the LXIV Festival of Cante Jondo Antonio Mairena
Calixto Sánchez Municipal Theatre, Mairena del Alcor, Seville
3th September 2025
Dance: Eva Yerbabuena
CanteEzequiel Montoya, Manuel de Gines and Miguel Ortega
Guitar: Paco Jarana
Compass: The Oruco
Percussion: Dani Suárez
