Attend a meeting with Maria Vargas On stage she becomes more and more an exquisite event. She doesn't show off too much, she avoids singing for the sake of singing; anyone who calls her and wants to count on her must meet certain requirements. At almost eighty years old (1947), she shines and sparkles like the jewel that dazzled back in the fifties when, as a child, she was asked time and again to repeat the saeta with which she prayed to her devotion in her seaside town. Since then, she has had a list of achievements worthy of a museum and continues to garner the popular warmth and recognition that her career deserves: from October 1st to November 30th, the IV Biennial of Flamenco from Cadiz, Jerez and Los Puertos.
So much has been written in expoflamenco de nanny Maria, as I like to call it, and I will avoid repeating myself. I always advise you to read what our companion Estela Zatania has published about it, because she knows this teacher like few others, both professionally and personally. She was there, in the front row, at the Peña Good people, accompanying her like so many other friends who responded to the call of living history. Young people from different towns also didn't miss the recital with which María reaffirms her mastery. No one can have any doubts, but for her, stepping on stage means facing a demanding test from an audience that knows what she's capable of giving. As if time hadn't passed, the artist prepares her recital with ritual. Her dressing room takes us back to a time when details were essential for going on stage. Shawls, dresses (she wore a fuchsia one in the first part and a black one with a Manila shawl in the second), makeup, accessories in jewelry and combs, and an enveloping perfume. #FromWithin we get into the last corner.
«The audience was on its feet, moved, and with a gift of fandangos, she remembered, in discreet tonal winks, her idols Caracol and Terremoto. Did I sing well? she asked in private at the end, with that humility that makes her great, with that greatness of the humble. A woman of good heart, a master of cante Gypsy"
Jerez is usually a city where every weekend the peñaThey offer activities, but Saturday's was too much. Up to three recitals coincided at the same time, and that should be taken care of, because it prevents you from enjoying the quality that each of them defended. In the morning it was Lucia Aliaño the one who grew artistically in the Perro de Paterna, Guadalcacín. Then, in the afternoon, Antonio Agujetas sealed his complaint on the walls of the Luis de la Pica ACF. And at night, Tomás Rubichi took his singing heritage to Don Antonio Chacón along with his prolific family. At the same time The Tolo He did the same at Tío José de Paula with the maturity of someone who knows what he's doing, gives it his all, and means it. Meanwhile, María enlightened us at Buena Gente. I did what I could; I spent a little time at each one. But I must dwell on María's story because, as I began writing, it was a particularly relevant quote.
In the front row were the dance teachers Angelita Gómez, Ana María López, and maestro Juan Parra, friends of the singer, her family from Sanlúcar, who also came, Isidro Munoz As usual, members of the La Bulería and Terremoto groups attended…
The guitarist was not the one announced on the poster, Miguel Salado, who had to be replaced by José GálvezWe always love listening to Miguel; he's admirable, but they couldn't have chosen the second option better. Gálvez tells us, without even playing, that everything will be all right. Serene, confident, and classic, a timeless, gypsy guitar. And María outlined a repertoire starting with alegrías, then moving on to soleá and tientos tangos. She doesn't hide for a second, giving a piece of her soul in every section. In the second part, she began by pilgrims, the best of the night, since they can hardly be heard as she interprets them. The seguiriya is for her the flag of her house, from his grandfather to his father, pour out the memories in the form of tears and pellizco. She, who shared the stage with Antonio Mairena, Juan Talega or Camarón, is now the voice of the legacy. Through bulerías, with the good palmas by Javi and Dani Peña, rescued lyrics from his early years of recording, as well as recalling the verses that his cousin La Perla popularized. The audience stood, excited, and gift Through fandangos she remembered, in discreet tonal nods, her idols Caracol and Terremoto. “Did I sing well?” she asked in private at the end, with that humility that makes her great, with that greatness of the humble. A woman of good heart, a master of cante gypsy. ♦
