In the field of peñaflamenco dancers, The SilversmithBecause of its history, its significance, its long history, and its treatment and care for artists, it has historically stood out. Therefore, institutions like this have the duty and obligation to program at high levels of quality. Historically, this has been the case, and although with some ups and downs in the present, it maintains a consistently high standard. The last quarter of the year, before the traditional Christmas events, concluded its season with a performance by David de Jacoba y Charles of JacobFew introductions are needed for such distinguished ships. flamencos. From David, just knowing that he has been toured for several years with Paco de Lucía His singing talent is evident. Carlos, like a little ant, has been forging his path, climbing little by little and laying the foundations of a measured, personal, and classic style of accompaniment. cante.
As in any performance, the artists are the stars, and they always should be; no one else. The rest are supporting players who should remain in the background and not seek the limelight, which contributes nothing. That's why the show should begin when David and Carlos take the stage, not before.
"With his vocal cords already warmed up, David de Jacoba delivered some textbook tientos; I would venture to say they were the best part of the recital, along with the subsequent seguiriya. He really poured his heart and soul into the tientos. In the heat of the moment, he set the rhythm, and his voice soared above the rest of the song."
Tentative cheers erupted during the soleá with which David began a recital lasting over an hour, featuring a well-chosen, classically inspired repertoire with lyrics that were constantly evolving. The person's shyness was reflected in the canteAt least until the middle of the recital. It went from strength to strength. As I said, the soleá was subtle, a balm of cante Embroidered with fine, gold thread, which gradually became a skein, perhaps barely visible and thick until the thongs halfway through the recital. Because before, she sang taranto and taranta (the one of The Gabriela) putting to Camarón In full-on mode, but bringing a personal touch to each verse. He continued with cantiñas and alegrías, picking up and pulling threads from the skein. Certainly, David is a flamenco singer with a Camarón-esque echo from which he cannot and does not want to escape. But of all those imitators and copyists of the singer from San Fernando, David is the only one who stopped being one long ago, even though his voice may sound similar, because timbre is not a choice. However, he has known how to stay close to and far from Camarón's style, creating his own unique sound that allows him to be himself. This is aided by his repertoire of rarely heard lyrics, some of them his own, which add more quality to his vocal contributions. He then offered a long series of fandangos. Macandé, some of them, as the eternal one already did CamarónHe delved into the thirds, moving in and out of the standardized melodic arcs. That's why, with his vocal cords already warmed up, he delivered some textbook tientos—I'd venture to say the best of the recital, along with the subsequent seguiriya. Because he truly explored the tientos, pouring out everything he had inside. Riding high, he set the tempo, and his voice overpowered the other side of the song. Another set of tangos followed, from Granada, from... The Repompa and from Badajoz.
And with seguiriyas he raised his voice, invoking the goblins who appeared when he remembered Juan Mojama, one of the greatest and most forgotten seguiriyas singers, as well as Joaquin LachernaHe finished with a bulerías, singing his own lyrics, paying homage to Camarón, to his mother Juana Cruzand adding a great deal of personal nuance to established styles that sounded like cante New. Carlos de Jacoba, on the other hand, remained steadfast in his traditional accompaniment, avoiding excessive prominence but infusing each falseta with details of his personality. These details, though seemingly unnoticed by the audience, revealed a profound understanding of the instrument and its possibilities. David also dedicated a song to the great Paco de Lucía. I sing because your guitar will always accompany me, and in that way, my Paco, I could stay, that's why I sing, to fly, I want to fly and live my own way.
And since we wanted more, he treated us to a couple of fandangos.
Credits
recital of cante by David of Jacob
Peña The Silversmith, Granada
December 13th 2025
CanteDavid of Jacoba
Guitar: Carlos de Jacoba
