After a triumphant reopening of the peña –after relieving the effects of the nougat– in which Archangel My heart broke, the truth of the dance arrived flamenco a Torres Macarena: the feet of Carmela Greco y Carmen LedesmaTwo authorities of the endangered breed. The strings of Antonio Moya and the cante skinned of Samara Montanez and the Utrera palate of the rancid laments of Mari Peña.
Antonio doesn't often perform as a soloist. However, he gave it his all before a seasoned audience of flamenco aficionados. His playing isn't crystal clear and polished, but he knows how to extract the raw essence of flamenco because he's been through it all. He possesses a flamenco sensibility that many would envy. He surprised the audience with his Levantine flair in the taranta, thanks to its composition, tonal variations, and the inspiration with which he ignited the passion in the bold and challenging sections. caressing the six silver rivers until whispering secrets with his guitar. Naturally flamenco, jondo and brimming with fascination.
Mari and Samara's knuckles on the table set the rhythm for tangos, for which Moya requested the palmas that would have been needed. Although soon the air was perfumed by the raw emotion of two colossal women who embroidered the cante strolling through Cai or remembering The Repompa and Extremadura. There were many nuances that they imprinted on the string of letters with which they warmed the walls of the temple of art in Seville.
"Carmen Greco swung her hands forward and backward, painting in the air with her arms the true experience of dance without artifice, she swayed her hips in the tangos, mischievous and flirtatious, without obscene gestures and very feminine. Powerful feet, she was different, ardent, pregnant with tension and depth."
And then Ledesma raised his arms, beginning to the light rhythm of the seguiriya, to meet the voices of Samara and Mari, vying for the Ballad of Count Olinos In the twelve beats of the bulería's amalgamation, Carmen set a masterclass in simplicity, in less is more, in how to stop or twist to seal the defiant gestures with a glance, without ostentation of footwork, with intricate arm movements and flamenco artistry in the closed-off sections. Tremendous. As were the singers, repeating the lyrics in cantiñas, one adding the salty flair of Cádiz and the other the flavor of Utrera and Lebrija. Thus they both sang that part of El Rey David o Where do schoolchildren go?, looking at each other Pinini, without Sanlúcar being left behind in Samara's melismas when he tempered that of The MirrisAll to the rhythm of a pleasing sound that alternated the silences of the guitar, with deep bass notes and cries in the wails of Mari and Samara, who could not have been more committed.
Identity and luxury came with Carmela Greco, who Just by narrowing her eyes and raising her hands, she took our breath away.When that woman brought elegance to the sun-baked timbers of the peñaThe audience prostrated themselves at his feet. The rogue tartan vendors Mari, from Cartagena, announced the dance of tarantos and tangos. where Los Tempranos are born, help me Uncle Rufino, as in the tables of Torres MacarenaGreco created a sumptuous magic that hypnotically captivated the audience. She swung her hands forward and backward, painting in the air with her arms the genuine experience of unpretentious dance, swaying her hips in the tangos, playful and alluring, without obscene gestures, and very feminine. Her feet were powerful; she was distinct, ardent, pregnant with tension and depth. Carmela knows what she's doing and moved on the stage with spontaneity, as if she were undressing in her own living room. Transparent, divine. Powerful in the calls, varied in the closings, original in the improvised choreography… all heart. Samara remembered Moorish songs and finally, Mari Peña She looked tender, silky, and breathtakingly sentimental as she sang The little things which drove Carmela and Ledesma wild with their passionate dancing, who joined the ritual with the help of Samara's swallow of hurtful pins.
El cante hit pellizcos. I don't know if Carmela's dance was the cure, a mother's saliva, or a sugary tickle. Ledesma, a sooty scratch. And Moya's guitar wove the whole thing together, stitching together the ceremony. See also in the videos the quality of the grand finale with bulerías, to which the voices of [names missing] added their own touch, gifting us with their artistry. Juanelo, Sarah Korea, Manuela Moya y Choir of the Kings and the heels of Zaira Prudencio y Miriam the CowgirlLet whoever can tie, tie. Then the party continued by the fireplace for the die-hard fans. Crazy.
Credits
Dance recital by Carmen Greco and Carmen Ledesma
Peña Flamenca Torres Macarena, Seville
January 9, 2026
Dance: Carmen Greco and Carmen Ledesma
Cante: Mari Peña and Samara Montáñez
Guitar: Antonio Moya
Admired and beloved Kiko Valle, the one who doesn't talk about the shows: the cantea. His writing style smells of flamenco, sweat, and truth, with a language flamenco Its own, which scrapes, caresses, and remains. Chronicle with pellizcoKnowledge and a lot of passion behind it. It's always a pleasure to read what one learns from you. Flamenco And how much he enjoys reading you. Thank you so much, Kiko. Bravo! pellizco.