The year 2026 has begun in Granada in the best possible way, with the excellence of dance from one of the best, with the greatest international reach and numerous accolades, in addition to a tremendous amount of experience on stage. Peña The Silversmith The Albaicín opened its doors to one of its daughters, a member of the house, an honorary member of the peñaNational Dance Award, Mining Demonstration of La Unión and current director of Ballet flamenco Andalusia, with a desire to succeed that required nothing more than two shrugs to dispel any doubt. Patricia guerreroThe great Patricia designed a precise, measured show for the occasion. flamenco and elegant, in which there were nods to the aesthetics of the Sacromonte dances, with those shoulder movements that seem so sensual.
Despite the freezing cold on Saturday night, the hall was packed. cante of the peña to admire, adore, and enjoy Patricia. She came accompanied by the immeasurable guitar of Jose Fermin Fernandez, from the cante de Sergio the Redhead and the beat of José Cortés the Indian.
Although Sergio el Colorao was feeling unwell after spending Christmas with the flu and barely singing, he proved what a true professional he is. Another singer might have used the group as a shield to avoid being noticed, but he rose to the occasion and demonstrated it in many verses where there was no trickery involved. He went as far as he could, and did so admirably, especially in the seguiriya.
In addition, there was a gathering of local artists who also didn't want to miss the dancer. Jaime El Parrón, Esther Crisol, Vicente Márquez Tente, Juan Pinilla o Joni Cortes They wandered around. El Colorao performed tientos with Fermín's guitar and Guerrero's opening entrance. Measured, calm, clean in her movements, precise in every arm swing, an exact definition straddling the classical and the avant-garde, her great strength and her signature. In the tangos there were nods to Sacromonte. Curro Albaicin who has established a suggestive way of provoking with her shoulder. But Patricia goes further and proposes new formulas to latch onto.
"Patricia Guerrero, the great Patricia, designed a precise, measured show for the occasion, flamenco and elegant, with nods to the aesthetics of Sacromonte dances, with those sensual shoulder movements."
Fermín was left alone on stage announcing: "I'm going to play something, right? And I'm going to dedicate it to the last of the Mohicans." cante"Jaime the Parrot." That came in 3/4 time with a detail of What a fuss, some passages that subtly reminded me of Child Michael, others to the falsetas of tangos of the Little sheep...or even hints of fandangos from Huelva. Fermín, can you tell us what you did? You drove us crazy with that way of playing! Everything was in the rhythm of what seemed to be a bulería, but it came and went like a breath of wind. Because in between, a flourish of abandolao and granaínas gave way to El Colorao, who then launched into the Baladilla of the three rivers de Pepe Albaicín, from that distant cante and grandeur for milongas that meant putting in for the first time Lorca discographically in the flamenco.
Through the side door appeared Patricia and El Indio, dancing with each other, moving down the aisle to the stage, their bare rhythm intensifying, so she could dance alegrías. Alone, without a guitar, just cante And the rhythm guided the dancer. Nothing else was needed. Off-white trousers and a polka-dot blouse—you couldn't be more flamenco! And without silences, without artifice or affectation, because the spirals in the dance don't seem to allow for that, and she respected it. For those who want to delve deeper into her dancing, pay attention to how she masters her arms and shoulders in the overall movement from the waist up. For me, sublime.
El Colorao continued with seguiriyas, accompanied by Fermín on guitar, displaying commitment and skill despite his post-cold itch. He grew bolder in the opening verses of Manuel Molina combined with another one astride that of Old Man of the Island y Francisco la Perla betting everything on the auction of Curro Durse looking at himself in the mirror Manuel Torres.
Guerrero left the soleá for last. And she finished as she began, measured, calm, refined, aesthetically impeccable, and applying 21st-century dance to the dance of the past: a totum revólutum exceptional.
The artists remained in a corner of the stage all night, which gave no indication from the start that we would see a flamenco dress with a train. And so it was, nestled within a fitted gray polka-dot dress, with black lace shoulders and sleeves and a short but magnificent skirt that took center stage in the swirling ruffles. And to close, a grand finale with bulerías. As I said before: You couldn't ask for more!!
Credits
Patricia Guerrero dance recital
Peña The Silversmiths, Granada.
January 10, 2026
Dance: Patricia Guerrero
Touch: José Fermín Fernández
Cante: Sergio El Colorao
PalmasJosé Cortés El Indio
