To shut oneself away within the sun-baked walls of the temple of flamenco Seville is not just any place. Christian de Moret He was brave in his approach and gave it his all. But the Macarena stage proved too much for him. In the vocal ranges he attempted to present an orthodox recital, he showed that it's not his place and came across as a singer on a bland diet: a mere bland, uninspired performance. He toiled through a tasteless, boring, and mediocre repertoire. Among the worst we've seen on these wooden platforms in recent times.
For the canteFrom the music he chose and his well-modulated phrasing, it is clear that he is a great connoisseur and enthusiast of flamencoBut knowledge and intentions weren't enough to make his gamble pay off, nor did they stir the audience's emotions or garner enthusiastic applause. Because he left them lulled, overwhelmed by a thin, unprojected voice, pushing back the cante in the close calls and overusing nasality in his half-voice. Lacking other vocal resources, he oscillated between lukewarmness and coldness, visibly nervous, anxious, I would say, playing with the melismas he has overused and which sound effective when he hides behind the amplifiers of an electric guitar, concealing his deficiencies as a true flamenco singer with insufficient qualities to shine in peñaand festivals of the jondo.
He came accompanied on the guitar by Juanito CamposHe always gets the toughest gigs, but he came out on top and even drew applause on several occasions, because his touch was more than just up to par, it was exceptional. And Cristian delivered a handful of palos accurate in their coherence, but lacking a real game-changer and plenty of... pellizcoto wake him from his shallow self-absorption. It seemed as if he was humming while doing chores around the house.
"For the canteFrom the music he chose and his well-modulated phrasing, it is clear that he is a great connoisseur and enthusiast of flamencoBut knowledge and intentions were not enough to make their gamble pay off; neither the audience's excitement nor the enthusiastic ovations were enough.
Having already shared my opinion without any intention of offense or bitterness, however painful it may be to offer unfavorable criticism, since any artist who takes to the stage deserves respect, it is only right that I be consistent with my opinion, which seemed to coincide almost unanimously with that of the rest of the attendees with whom I had the pleasure of chatting afterwards, at the party, until the early hours of the morning, and I will also tell you what a performance he delivered on the proscenium of the Peña Flamenca Torres Macarena.
It opened in Malaga From the convent to the bells of the one who It was the enviable thing in the world.paying tribute to the two masters. He tried to push in the jabera and reminded me how well he sang Gaspar de Utrera what of They say your name is Laura, from the laurelsHe paid homage to the singers of La Alameda with a soleá, evoking the style of The Titmouse through Cádiz or those of the Pavones Without a solution, he kept dragging things out when time demanded a close. We skipped the alegrías out of sync, and he shut down the first part with fandangos from Huelva, also playing the guitar and dividing his time between four variations, waking some from their lethargy. He searched in Chocolate y Marchena the ways in which they played the Levante airs. He dedicated the seguiriya to DyingBut it was bland and soulless, lacking in connection with the music. The worst part came with the tangos played on two guitars, poorly blended and more suited to a school end-of-year recital or livening up a beach bar in the summer. It warmed up with the allianda de The Paquera in the bulerías, with the help of two palmerosAnd he left again, dancing fandangos without fanfare or glory, putting the lock on a night best forgotten.
The best part came later, among fellow aficionados, in a little corner that sheltered us until the milkman arrived, ready to unleash a torrent of Huelva-style fandangos, natural soleá, alegrías, martinetes, tonás and deblas, tientos, tangos and seguiriyas. Such is life.
Credits
Recital by Cristian de Moret
Peña Flamenca Torres Macarena, Seville
February 14th 2026
Cante: Cristian de Moret
Guitar: Juanito Campos
