It is unacceptable, and there is no justification that explains, with distinguishing criteria, how it is possible that Flowers Frame She hasn't danced in Seville for fourteen years. This is absurd, a series of misfortunes and coincidences, or the result of the profound ignorance of programmers and politicians who understand little about dance or veto anything effeminate without considering its merit. There she went, ready to give her all on the sun-stained stage of the temple of... flamenco Sevillian with a packed audience peña And among whom there were more artists than fans to admire and reaffirm Flores's scepter as the totem of dance flamenco, the fetish flamenco dancer whom everyone adores, the pinnacle of the matter, of the good, probably the best.
What above the guitar-playing hands of Nerd Santiago It's always a guarantee of quality. He knows a thing or two about dancing. He whistled to Marco and came delighted at his call. Torres MacarenaHe is an artist's artist, a performer on grand stages, winning awards and playing in theaters. And when demigods of the high heel like the Ballet Flamenco Andalusia full, Manuel Linan, Juan Thomas de la Molia, The choro, Lucia La Pinona, Marina Valiente And a whole host of other renowned dancers, singers, and guitarists were there—it wasn't to be missed, after all. Marco Flores gave a superb recital, unbecoming of a peña anyone, exceeding the limits and the bar of the quota of oles and pellizcoIt was something he took with him as a memento, a real treat in the bag of thrills from the age. The final ovation sealed it all. A dream finale was missing, given the cast of characters in the audience. It left us wanting more, but, since it thrilled us so much, we forgive it without a second thought. Let whoever can, tie. What a spectacle!
Levante ruffled the new strings from the dressing room to the stage, Ñoño's guitarrón in the taranto with tangos, which formed a refined, musically exquisite composition, with dizzying alzapúas, well-pulsed drones and sweet tremolos. The Quini of Jerez He stormed out of the stands, terrified: "Why don't you all stay home?", seeing so much talent with their eyes glued to the wooden stage. He was captivating and charming with his tangos, impeccably rhythmic, perfectly captured by the guitar strings. Sanchis From Ñoño. Like John of the Mariawho unleashed his refined voice, honed in the albariza soil of Jerez, for discerning palates. He finished with a sip of water in Lebrija. It was the prelude to Marco's first dance, who, without a guitar on stage, was inspired by the scraped, scratched throats that threshing floors and others gave him. cantefree raffles between the two singers and fastened by the male of the seguiriya of Juanichí the Handler which Juan threw with gusto.
"The spectacle he created with his joy was extraordinary. Red trousers and a patterned shirt. And then came the flirting of feet, buttocks, torso and arms, swashbuckling turns, artistry in abundance, drunken dancing, the perfect gesture, brimming with pure happiness, sprinkled with salt and joy. (...) In short, that thing they call duende, which coursed through him from heel to fringe."
Marco danced for canteAnd it was absolutely magnificent. Extraordinarily so. flamenco. With defined feet, yet without any ostentation that might obscure an unimaginable flourish of arm movements, he created a spontaneous, natural choreography, so integrated into his very being that, although one could discern the source of his dance, he blurred and recomposed it according to Flores's blessed whim, and everything became his own, personal, unique, beautiful, and full of swagger. It was breathtaking. His posture when he stopped and gathered himself, the look in his eyes during the silences, his play with defiant gestures without fanfare… were simply spectacular. Sometimes, with a turn of a shoulder or a sway of his waist, he unraveled the flamenco sensibilities of the audience, and we erupted in cheers. The place was a cauldron of emotion, and he was the fire, fueled by a superb performance, a formidable backstage presence that carried him better than he could have been carried throughout the entire recital.
Ñoño got his revenge, shining brilliantly in the bulería por soleá, which he played with complete freedom, and it all sounded great. Quini threw everyone off with a fandango-style flourish in a short Jerez-style verse, and then he really got down to business, snaking along in a flourish; Juan remembered Carapiera And Quini answered him on earth with echoing holes and of Uncle BorricoAnd although it sometimes serves an exaggerated purpose, it's clear that it's not a fool and its ways appeal to me.
Nor does he use Marco's little eye, which is all true. And it oozes from every step. The commotion she caused with her joy was extraordinary. Red trousers and a patterned shirt. And then came the flirting of feet, buttocks, torso and arms, slick turns, artistry in abundance, drunken dancing, the always opportune gesture, brimming with pure happiness, sprinkled with salt and joy. The palmas In his cheekbones and chest, the cuts and mishaps, the drum rolls in his defiance, the spontaneous originality, the unintentional poses, the moments of magic… In short, that thing they call duende, which coursed through him from heel to fringe and made him enjoy himself immensely and charm the true Sevillians in the face of the undeniable authority. Quini saw himself in Chano y La PerlaJuan in Utrera's Curro And his joys of Córdoba. Marco performed a delicate, solo bulerías, different and elegant, a silence that spoke volumes, the customary bulerías of Cádiz… He plays in another league. And those who were there knew it. The faces of the flamencoWanting to get away from this, filled with infinite pleasure and clouded with wonder, they created an atmosphere of murmurs and a desire to party that ended in the Alameda with Marco shouting "come on, girls," happy and radiant with the satisfaction of a job well done.
Credits
Marco Flores dance recital
Peña Flamenca Torres Macarena, Seville
January 21, 2026
Dance: Marcos Flores
CanteJuan de la María and Quini de Jerez
Guitar: Ñoño Santiago
