Vicente plays like a god. If it isn't perhaps God himself playing through him, taking advantage of the sensitivity that dwells within him, because he finds no cleaner, purer reeds among the skins of the rest of humanity on which to place the Six birds in the handIt is the soul of the guitar. And also human. It arrives in Seville and wrinkles. It melts and surrenders to the syrup that seduces without taking risks, remaining only in elegance, exquisite delicacy, the tender caress.
He played flat. Extraordinarily sensitive, yes. But it wasn't his best day. His brilliant flourishes sometimes lacked the finishing touch, the precision, or the polish. Although it didn't matter, it hurt a little, it was Vicente. He overused jerky strums and faced the audience alone in one piece, the first, naked before them, without the support of a handful of musicians to lean on. He didn't bring canteNothing but choirs. No dancing, no dazzling lights. The stage's sobriety and simplicity contributed to the infectious energy of a recital that felt long because there were few moments of elation and excitement.
Beneath the zenith, he wove together the taranta and soleá to offer the first taste. It remained a whisper, a tiny bite. Then, the silky violin of María Ángeles Bellido, the velvety cello of Antonio Fernández and the sweet flute and oboe of Javier MarquezThe second accurate guitar of Añil Fernández, the round and fat bass of Ewen Vernal and the choirs and palmas Triana residents of MakarinesMore strident than usual, but superb in their interpretation and timing, they provided the accompaniment. Special mention must be made of the fabulous percussion of paquito gonzalez, restrained, fair, simple, appropriate in every passage and in the silences, in the dynamics, in the times, in the rhythm, in the salt and in the sound. Vicente Friend It flashed in the middle, tickling hearts.
"He grew from strength to strength, excelling in rhythmic contrasts, impossible turns, and his overwhelming sensitivity. Also in arpeggios and alzapúas, in the melodic and the strumming. He was naturally spontaneous, dedicated, affable… He tried to give his all, but Seville, 'which keeps you up at night,' held him back."
To anyone who doesn't know him, what he did might have seemed outrageous. But for the discerning, the sensible ones, and those of us who would fight tooth and nail with anyone who doesn't rinse their mouth and wash their hands before speaking or writing about Vicente, it fell short. It's hard to say. Did Vicente not play well? Of course he did. But he didn't reach his full potential. I've been throwing stones in the streets, whoever gets them, forgive me, my head's gone crazy from so much thinking.
I was overwhelmed by the constant whiff of the rhythmic strumming of tangos, tanguillos, or tangos arrumbaos, and a sprinkling of bulerías. The left hand kept asking for more soleá, malagueña, seguiriyas, rondeñas… Greedy, that's me. But he continued with his brilliant compositions. Flirting with the metronome, placing the accent wherever he pleased, riding swiftly above the count given by the percussion and the palmas, playing openly with the mysteries of the compass.
Thus she captivated everyone with her list Tangos del Arco BajoHe drew his own [artist's name] on the strings with his fingertips self-portrait, stopped at the Spring season and in Corvovado, it got all messy in the Brother's Bolero, danced to the touch of the Pasodoble to José Tomás, enjoyed the bulería Manuela –which he dedicated on his album to Farruquito—, strolled through the Cabildo Square, to get into The little well and then wander around the Platforms of Time (To Jacinta)wanting to end up leaving Nougat and chocolateBut the incessant applause forced him to perform an encore where he stitched together some truly memorable moments from his legendary and sublime repertoire. Requiem with others from RomeTwo of his star works, which, however overplayed they may be, remain the jewels of his concerts. And this one was no exception. A recital whose program varied in order and omitted two pieces: With 'V' for Cadiz y Bolero to the parents.
The lower bones of the Reyes The embrace diminished the sound's body. It grew gradually, standing out in the rhythmic contrasts, the impossible turns, and with its overwhelming sensitivity. Also in the arpeggios and alzapúas, in the melodic and the strumming. He appeared naturally spontaneous, dedicated, affable… He intended to give his all, but Seville, "which keeps you awake at night," diminished him. I cling to the vibrant memory of a few years ago, At the same placeWhen he made me fall in love again, bathed in an extremely beautiful light, with Rafael de Utrera in a state of grace and the dance of The Choro. This time I keep wondering…
Vicente didn't play well? What more do you want me to say?
Credits
Vicente Amigo in concert
Six birds in the hand
Teatro de La Maestranza, Seville
February 13th 2026
Guitar: Vicente Amigo
Second guitar: Añil Fernández
Voice and palmas: Makarines
Percussion: Paquito Gonzalez
Bass: Ewen Bernal
Flutes and oboe: Francisco Javier Márquez
Violin: María Ángeles Bellido
Cello: Antonio Fernández
