Miguel Fernández y Fali from the Electric at palmas marked the beat with vigor. And the drones of the extraordinary guitar of Ignatius of Amparo They sprinkled the lime of Morón in an accompaniment jondo and helpful with which he gave himself since Joni Torres He opened the cage to the moan. "Let's have some festivals for this guitarist!" One more tone pushed the capo into the ebony of the bajañí so that the young local singer could rummage in his guts. And so Joni did, fighting like a wild boar every third without becoming strident, chewing the cante when he was bordering on the limits of his attacks and throwing all the elements of his surname into the entire recital. His uncle Juan Torres He told me quietly: "The only thing I didn't like was the bald guy." And I agree. Four canteThese were the only benefits this gypsy of only twenty-four years old had to achieve his crown on the entaramao of his town. He began with bulería por soleá, getting the audience going, somewhat agitated by nerves, which he later tamed as his performance progressed, in which he showed the utmost respect and great responsibility. I stood there when he threw him out. to the dog caenas and with the packaging that wasted on it BeansA bouquet of tangos from here and there magnificently rocked continued to show their fondness for Mairena. Some notes of the melody of The Llorona They preluded the black seguiriya lament that the singer dedicated to his uncle. Manuel Amaya, recently deceased. And with fatigue in his neck, he lamented mournfully and deeply from the first body to the male where he shed the asauras. He finished with festive bulerías, bringing to mind figures such as Paco Valdepeñas, Anzonini, The Andorran…singing and dancing with a flair rarely seen these days. Lyrics alluding to gypsies, others playful, from the time-tested repertoire, and some less used. Joni Torres showed off with gusto, with the spontaneous naturalness that runs in her veins, with the gypsy ambiance, and with a guitar, Ignacio de Amparo's, that garlanded her throat, imbuing it with drones, tiraíllos, round strums, and quintals of flamenco.
Anabel Valencia He boldly gambled on his repertoire. He endorsed the seguiriya with some verses of his uncle's, continuing with the murmuring tongues and the macho of Juanichí The Handler. He changed the airs of the verses at will with boldness and confidence, making the pain more fresh and current. The musicality of the guitar with the drone in another tone wove together a cante different, but it kept its depth. Curro Vargas He played sweetly: precise, neat, and rhythmic. Dialoguing with the verses from Anabel's voice, full of Lebrija. Alonso Carrasco y Javi Peña provided the basis for the soniquete. And the cantiñas reached the lips of the singer, who wandered between Cadiz and Lebrija, remembering Pinini and the characteristics of her homeland. With buckets of taste. In the malagueña and abandolao, I heard something like a song. But she let loose in the bulerías, creating a scene, barefoot, sometimes in front of the microphone, sometimes in the air, dancing artfully and brimming with energy in each of the verses. Without a doubt, this was the best performance she performed in Osuna, deservedly rousing the audience and earning a tremendous ovation. The thrusts of her powerful, flamenco voice still resonate in the recesses of fans' minds.
«Joni Torres opened the cage to the moan. Let the festivals come for this guitarist! (…) Fighting like a wild boar every third without reaching stridency, chewing the cante when he was close to the limit of his attacks and throwing all the insults of his surname into the entire recital.
The best part of the dance was the sonanta of Manuel Fernández: clean, melodious, with a resounding and soulful beat, which stood out from the solo that crowned with abandolaos, passing through the alegrías of Ana Pastrana, the soleá of the singers Antonio Luque El Canito y Antonio Heredia, even the tangos they closed with. Ana was only OK. The dancing wasn't the highlight of the festival.
fabi She left her superstitions in the dressing room and dressed in yellow. She was pretty enough to scream at. Soon the cheers overflowed, which she drew from the stands with the power with which she understands the cante This woman. With the palmas de Dive y juan big and the splendid guitar of work carrasco She got Osuna boiling. She began with alegrías, and her melismas erupted like gushes of salt. She looked to Jerez, Lebrija, and Utrera in the bulería por soleá. And riding on the chocolate echoes, she blasted out a handful of fandangos that were thrashings of nail-biting sentences. As if that weren't enough, she ended immeasurably in bulerías, thundering, peeling herself alive, open-hearted, leaving nothing in her chest, giving herself entirely, emptying herself completely. What a way to sing! La Fabi shook, ached, and won the audience over. It was no less.
The clasp was put on Antonio Reyes with the guitar of Vicente Santiago and palmas category of Tate Nunez y Ramon Reyes. It's no secret that Antonio cooks the syrup every time he opens his mouth. He sings very well. But he did it with relief. Added to this is the slowness with which he usually serves the cantes… the whole thing fell flat. Or perhaps marred by the excess of reverb, which became annoying. And yet the Chiclanero warmed up his soleá with his palate, looking at himself in Bag, La Andonda o PaquirriAnd that's when he cooked the piñonate in a snail-like way. The Savior as a prelude to the Ceperian tangos that are a caress, where he winked at Camarón with Rosa Maria and locked the door with a fandango of The Glory. And that in the seguiriya of Uncle Jose de Paula He squeezed. And that despite the fact that he gave a delightful performance of bulerías, in which there was no shortage of tributes to Juanito Villar y Pansequito.
That's how the night ended.
But flamenco In Osuna, his last name is Torres, and he's a Roma. The rest is a different story. After the festival, the revelry among a privileged few lasted until dawn. I won't tell you about that so you don't get jealous.
Credits
XX Festival Flamenco from Osuna
Corral House of Culture of Osuna, Seville
August 30th, 2025
Cante: Joni Torres, Anabel Valencia, La Fabi and Antonio Reyes
Guitar: Ignacio de Amparo, Curro Vargas, Curro Carrasco and Vicente Santiago
Palmas: Miguel Fernández and Fali from Electric, Alonso Carrasco and Javi Peña, Zambullo and Juan Grande, Tate Núñez and Ramón Reyes
Dance: Ana Pastrana
Cante: Antonio Luque El Canito and Antonio Heredia
Guitar: Manuel Fernández
