Araceli Muñoz She's a fine porcelain doll. Delicate as she is, she doesn't break, because she throws herself into the twists and turns without losing her composure, whether swaying her seductive hips or strolling about, displaying her beautiful figure, her gaze fixed on profound pronouncements and sweet caresses, whatever the dance demands. Don't look for any hint of swagger or wounds in her. Everything is elegance and grace, although she charges forward with force in the bolder passages and combines well-defined footwork with spirited, exquisite arm movements. Watching her dance is a spectacle in itself. She steals your eyes and your smile. But be warned, she knows when to stop. And her silences carry weight despite her vibrant youth.
Jose Luis Medina Those are his hands. A fellow musician and romantic partner whom he planted a kiss on at the end of the recital. A phenomenal guitarist who is rapidly advancing to take his place among the greats. He opened the evening, brimming with fresh musicality without ever missing a beat. flamencoHe doesn't just cling to harmony; melody permeates the conception of his compositions, like the taranta with bulería that left us speechless, and the palmas Red-faced with applause for his feat. He excelled in both the solo and the accompaniment, with falsettos that captured the cante And the dance to guide them through the mouthpiece of his guitar, responding at just the right times, always in time, excelling in tremolos, drones, and a few moments of tiraíllos and alzapúas. Technical, sensitive, and original.
El cante de Javi Rivera He gave us some delightful moments when he remembered Triana or the soleá of Ines BacánWithout diminishing the rest of her performance, however different it was, the timbre of her voice and her mannerisms failed to fully convince the audience, since comparisons are odious and she was up against a titan. Miguel Lavi It started slowly but gradually built momentum, perhaps holding back a little so as not to soften the calluses of his throat, because soon he sings solo in the Jerez FestivalEven so, he dug deep as always, nurturing my weakness for his sharp, raspy voice and that way he chews the thirds, holds them, and then pushes forward, or the way he rocks the lower register and then unleashes a powerful attack at the top as if there were no tomorrow, digging his nails in. First in the soleá tempo, where the Jerez native's throat was already aching. And then in the echoes of The Titmouse through Cádiz or the Jerez variants of the bulería to listen to.
"Everything is elegance and grace, though she attacks with force in the more daring passages, combining well-defined footwork with spirited, exquisite arm movements. Watching her dance is a spectacle in itself. She steals your eyes and your smile. But be warned, she knows when to stop. And her silences carry a ton of weight despite her vibrant youth."
The indigo of the clothing cinched Araceli's waist as she took to the stage for taranto and tangos – the levantica was well-crafted The Lame Man from Malaga in Rivera's nut-like state—Elegant and immersed in her role, without hesitation, feeling herself, she danced at all times to cante The guitar, in a dialogue sometimes tender, sometimes sorrowful, occasionally seeking counterpoint in the rhythms, while she slowly raised her arms or turned her torso with naturalness and poise. The harshness of a lament did not diminish her femininity. Her steps were decisive and her gestures always timely. The shift to tangos made her flirtatious and playful, flaunting her curves without ever becoming obscene, with the ruffles of her dress and graceful hip movements. And to hell with reggaeton when there are flamenco women who know how to move like that.
The flamenco singers' tangos served as a prelude to the best part of the night: the alegrías dance. Araceli dressed with a smile, looking happy, wearing a splendid green polka-dot dress—which she moved with talent—sewn by her saintly mother, and the shawl with which she tickled those in the front row and even... Carmen Ledesma...who sits at the end. That was beautiful poetry. The silence before the brushstroke was tremendous, the skill with the shawl, the patterns on her body, the pose without posing, the beauty... enough to immortalize it in our minds and sell prints of her likeness. Araceli Muñoz captivated the audience with the exquisite beauty of her dance and her stage presence.
And for dessert, the usual grand finale, which many of his Ballet colleagues joined, a group he has found within the walls of Torres Macarena Her second home, a place to be herself, a little corner for meeting, and the wooden beams where she doesn't get lost among the dancers, where she can say "I am," with her own identity and the guts that justify her position, earned through hard work because she deserves it. And Araceli defended it. She's not a flamenco dancer of pellizcoThey're fat, but they leave you feeling tender, happy... which is so difficult.
Credits
Araceli Muñoz's dance recital
Peña Flamenca Torres Macarena, Seville
February 18th 2026
Dance: Araceli Muñoz
Cante Miguel Lavi and Javi Rivera
Guitar: José Luis Medina
