I don't know what it is about Puebla that is differentI repeated this last part like a mantra some time ago because that place overflows with art and flamenco In a special way. But it's infuriating that, in my opinion, this flamenco singer isn't given the place she presumably deserves. María Jesús Bernal She treasures ground gold in her throat, a Moorish voice of cracked crystals. I myself thought her mannerisms were fake. But if you stop being silly, listen to her with your soul, without picking apart her flaws, she captivates you with profound, resonant lines, and you realize that's her voice, and it's not a fake, quite the opposite. She searches in the depths of canteHe holds nothing back. He doesn't have perfect pitch, nor does he adhere to canonical rules. He doesn't stray from the norm. He sings. flamenco By right, with style, and pouring her heart out. María Jesús Bernal is a true flamenco singer, the kind many connoisseurs love, the kind that sells out. And they only remember her for the pre-shows. The Meeting of Cante Jondo of her village, without the attendees and she herself having the pleasure of being illuminated by the lanterns of Moreno Galvan while the breeze perfumes its cante thyme, rosemary and almoradux.
But he didn't fight to prove himself, but because he doesn't know how to do anything else and is at a dazzling artistic and personal peak. He gave the best recital of cante that I've heard from him so far. He accompanied her like someone who's drooling, with caresses of the guitar, with bass strings that sustained the perfect timing, silences of hundreds of tons, deep falsettos and precious turns of the guitar. Manolito Jeroshielding each lament like one who gathers a treasure rhythmically and delicately, with admirable understanding, sharing the same sensitivity.
"María Jesús Bernal made my heart flutter. She gave a recital to remember and silently, almost unintentionally, positioned herself as a candidate to set the stage ablaze on the best stages of the flamenco, including that of his people."
It opened on the sidewalks and it was impossible not to remember The Girl with the CombsAlthough he didn't imitate or attempt to replicate their styles, he instead navigated the melodies, imbuing them with a distinctly flamenco feel. He carried the tientos and tangos with a graceful sway, looking at himself in Gaspar de Utrera, meandering afterwards, before paying tribute to Remedios Amaya, more basket-weaving, and lightening the rhythmic sound with which Jero lulled her. The soleá was an assortment of little pinches in each of the variations that pleased her, sung with composure, without stridency or shouting, but not without drive, daring and courage. For seguiriya she made my nails dig in with that one of the cart of the dead and the resounding male of Juan Junquera With which he finished the job of the black lament. Superb. Imposing. He went to Jerez to weave together the variations of The Moreno o Maria BalaAmong others, in the bulería pa escuchá, emerging triumphant and sprinkled with the terroir of the albarizuela. Then she closed the show with bulerías, staying in this land and strolling through the countryside from Lebrija to Utrera, to end with a fandangazo woven from the amalgamation of twelve, evoking the airs of Isabelita from Jerez when he sang the My horse stopped.
María Jesús Bernal made my heart flutter. She gave a memorable recital and quietly, almost unintentionally, positioned herself as a candidate to light up the best stages of the flamenco...including that of his village. "Let's remember!" he shouts repeatedly. That's it.
Credits
Recital by María Jesús Bernal with Manolito Jero
Peña Flamenca La Jumoza, Seville
January 31, 2026
Cante: María Jesús Bernal
Guitar: Manuel Jero 'Periquín'
