The cycle FlamenCAD, which is celebrated during July and August in the Candelaria bastion from Cádiz, it crossed its equator with Love FlamencoOne of the riskiest bets in its program. Artists from different regions gathered at the Cádiz fortress to offer a spectacular show. cante, touch and dance endorsed by the resounding success of their recent tour of the United States.
With a staging similar to a flamenco show, the cast brought together Antonio Gomez 'El Turry' y Ezequiel Montoya al cante, Silvia's Frames at the touch, Cheyenne in percussion and Vero La India, Juan José Villar, Fuensanta La Blanca y Juan Fernandez to the dance on a night marked by flamenco in its most orthodox forms, demonstrating once again that the genre, when interpreted from its roots, maintains its relevance intact.
For a little over an hour and a half, the artists enjoyed the complicity of an audience completely devoted to a proposal that took on special relevance at a time when private productions tend to play it safe.
And this cluster of new faces in the lands of Lower Andalusia brought a breath of fresh air, although the lineup was already particularly attractive to fans of flamenco since the show covered a wide variety of palos, driven by the passion, youth and knowledge of its protagonists.
The group opened with a bulerías, hinting at the styles of Morente and copla singers. Those first bars set the course for a performance that, until the very end, unfolded the main branches of the flamenco tradition. flamenco in a series of interventions in which special care was taken to maintain the balance between canteguitar, percussion and dance.
And under these reeds, the public ventured into the corners of the flamenco A more classic performance by a young cast, familiar with its conventions and possessing a palpable stage presence. One of the first great moments of the evening was delivered by Vero La India. Her dancing of tarantos and tangos combined passion and energy, with a powerful stage presence and a profound mastery of rhythm. that thrilled the audience.
Their performance came after the Malaga women of Boy from Vélez and the rondeñas and verdiales performed by Antonio 'El Turry'. The singer shone throughout the evening, both with his voice and with the flute, which also acquired a prominent role in the show.
"In Love" Flamenco'We find ourselves with a group of artists ready to take up the mantle of an art that continues to forge its path from its most classic and orthodox aspects, driven by those who arrive claiming their place in the universe of the most and the least. jondo»
Beside him was Marcos de Silvia's guitar, whose playing sustained and enveloped the different passages of the performance. The Jerez-born guitarist is rapidly advancing towards a prominent place among the great figures of the Bajañí style, as he demonstrated once again with his seguiriyas alongside Juan José Villar, who was playing on home turf.
The dancer ventured into the territory of cante From the present pain, set to a five-eight rhythm, she unleashed the best of her toe and heelwork at electric speed. Amidst the silence of the seguiriya, her performance brought the audience to their feet before the ensemble reunited for a bulerías passage. The orchestra evoked, both instrumentally and vocally, Tomatito, Niño Jero and Moraíto, in a section built on the dialogue between the different flamenco disciplines and giving a break to the dance troupe.
Each and every one of them had their own space, although all the performances were integrated into a common proposal, marked by the variety of registers and always faithful to the classical and orthodox expression proposed from the beginning.
With the expensive fish came its turn Fuensanta Blanco, who also joined the victory bandwagon with a dance to alegríasDressed in a flamenco dress and shawl, she delivered a powerful performance, both in her vocals and vocals, full of nuances, and with an intense connection to the audience.
That closeness with the public continued with Ezequiel Montoya, who was in charge of performing the bolero A lifetimeDuring his speech, the grandson of Farruco and Juana la del Revuelo He also recalled his past in Chiclana, reinforcing the link between the show and the Cadiz environment.
To close the night, Juan Fernández chose the soleá, the queen of the palos flamencos. Her dance brought to a close a performance that had journeyed through the most classic forms of flamenco, performed by a group of young people destined to have a lot to say in the next generations.
Without a doubt or mistake, we find ourselves with a group of artists ready to take up the mantle of an art that continues to forge its path from its most classic and orthodox aspects, driven by those who arrive claiming their place in the universe of the most and the least. jondo.
Credits
Love Flamenco
Bastion of Candelaria, Cadiz
July 30, 2026
Turry and Ezequiel Montoya (cante)
Marcos de Silvia (guitarist)
Cheyenne (percussion)
Juan José Villar, Juan Fernández (dance)
Vero la India and Fuensanta Blanco (dance)
Text: David Montes
