Remember that in addition to the formal presentation for the media in the Andalusian Institute of Flamenco which took place on the morning of Thursday, May 22, the organization of the LVI Meeting of Cante Jondo from La Puebla de Cazalla returned to the Peña Flamenca Torres Macarena from Seville in the afternoon of the same day to do the same with the fans, as has been traditional for some years. It was illustrated with a small-format recital by the Morisca The Yippee, which sentenced in four jabs the attributes that define her as a singer with capital letters.
Miguel Angel Martin, delegate of Development, Public Services, Ecological Transition and Communication of the City Council of La Puebla, briefly outlined the cast and pre-events of La Reunion. For its part, Miguel Angel Rivero, former delegate of Culture of the municipality, spoke eloquently about the idiosyncrasy of the meeting and the work of Francisco Moreno Galvan which heads the poster. It is titled The source of the jondo and in it are reflected the necessary and indispensable agents that Francisco understood that the flamenco: anger, because "the cante "it really hurts," symbolized by a pack of dogs and the torso of a singer that shows the blood and pain of his raw ribs; flamencoand the public, always present and participating in the ritual without which everything else is meaningless. Hence, it's called a reunion, not a festival, in keeping with the thinking of someone who is marking the centenary of its birth, an event that is being commemorated thoughtfully this year with numerous events in its honor.
"He had us more than won over and announced the closing with a seguiriya, like the greats do, like I like it, tired of cheap bulerías just because. Yiya is a great seguiriya singer, one of those who stabs with an ay and knows where the moans of the black lament hurt."
Yiya was accompanied by the powerful guitar, companion and infallible of Antonio Carrion, which will be collected on the night of Friday, May 23, Medal of Seville for his career in the flamenco for more than fifty years. At palmas Rocío Barranco and Isaac Mejías, in addition to the participation of Mara, daughter of the singer in one of the cantes.
He began by rocking the thirds by bambera, with tribute forced to The Girl with the Combs. He warmed his throat, caressing the audience's skin and showing his absolute dedication from the moment he parted the corner of his lips. In homage to Francisco –and Shake– he strung the snails loosely and well sung they play the leva, already in the thick of it, at ease and without superfluous artifices to cloud the path leading to the left. She left the path open. And she slipped in some sublime tangos, brimming with taste and rhythm, carried by the palate of those who know and can—when they feel like it or when they're inspired. She had us more than won over by now and announced the closing with a seguiriya, like the greats do, like I like it, already tired of cheap bulerías just because. Yiya is a fantastic seguiriya singer, one of those who stabs with an ay and knows where the moans of the black lament hurt. She opened it with a light touch along the riverbank and he gave the shake with that of Uncle Jose de Paula to fasten it later by putting the asauras in the male of the One-eyed Peña. The Yiya was crowned again in the temple of the flamenco Sevillian with a recital of style and trapío that scratched jondoto the fans present and this critic.
Credits
Presentation of the LVI Meeting of Cante Jondo from La Puebla de Cazalla
Peña Flamenca Torres Macarena, Seville
May 22th 2025
Cante: La Yiya
Guitar: Antonio Carrion
Palmas: Rocío Barranco, Isaac Mejías and Mara
