A refrain often sung by certain fans assures that the new generations of flamencoThey neither know nor respect the legacy of their elders. Undoubtedly, we must live in different worlds, because all I see are young people keeping that heritage alive from every angle and across all disciplines. What they don't do—and rightly so—is mimic what has already been created and canonized, but rather use it as a starting point to continue contributing fresh, living water to the immense river of art.
That's what they do Rafael This time y Valerian Cloths in his new job, Maidens [permanent revelry], an explicit tribute to that great modernizer of the guitar who was Ramon MontoyaThe all-male cast seemingly contradicts that title. Maidenswhich are none other than the six strings, in a Lorca-esque metaphor, orgiastically caressed by the guitarist's fingers. As for the revelry, in a previous press conference the choreographers had simply stated that "we have to have fun, the world is in a bad way," something no spectator would dare contradict.
And fun is what this show offers in abundance: laughter, dancing, and joy to ward off the widespread depression in the face of the dark and violent path our planet is taking. But first, there is listening. The curtain rises, and the guitarist appears center stage. Alejandro Hurtado, while the dancers, seated in chairs as an extension of the auditorium, watch.
The opening notes of the rondeña inaugurate a recital that promises to be anything but predictable. I won't delve too deeply into the repertoire, as it's a premiere, and surprise is one of the show's strongest elements. But we can reveal that it features a succession of electronic sounds, sheep bleating, a mock processional march, drunken stumbles, reggaeton-style dancing, robotic movements, and even a Charleston. Multiple forms of more or less unrestrained fun, which the audience witnesses with a mixture of wonder and a desire to join in, but above all, is swept up in the energy and freedom that the performance conveys.
"None of this would be possible without the enormous weight that guitarist Alejandro Hurtado carries on his shoulders. No one is more suitable than him, after such an impeccable performance as the one he gave in Maestros, reminiscent of Montoya himself and Manolo de Huelva. But the man from San Vicente del Raspeig goes far beyond fidelity to the score, continually filling the stage with wonderful colors and aromas."
Of course there's also dancing in the proper sense, and not only that. flamencoFolk dances and Spanish dance are featured in a repertoire that allows everyone to shine, both individually and as a group. In fact, all the dancers appear as soloists in the program, and they demonstrate this where it matters, on stage.
But none of this would be possible without the enormous weight that guitarist Alejandro Hurtado carries on his shoulders. No one is more suitable than him, after such impeccable work as he did on Teachers, recalling Montoya himself Manolo from HuelvaBut the one from San Vicente del Raspeig goes far beyond fidelity to the score, continually filling the stage with wonderful colors and perfumes.
Meanwhile, amidst the apparent chaos, the story of Montoya and the flamencoFrom the times when this art was confined to private rooms until it became a mass spectacle after the master's triumphant passage through Paris, the guitarist's important alliance with the pontiff Antonio Chacon (the moment when the Pastillas Crespo ad is played is hilarious) or the tragedy of the Spanish Civil War.
As with other great choreographers of today overflowing with ideas, Estévez and Paños' only flaw is the difficulty in finding an ending point: it's not that the revelry is constant, but endless. But for a party to be complete, it must conclude, allowing serenity—and even the hangover—to give it its full meaning. That's why they succeed in closing as they began, with the rondeña, this time seen from a different angle, even though we haven't moved from our seats. And the world suddenly seems a little better.
Credits
Maidens, permanent revelry, by Estévez & Paños
XXX Jerez Festival
Villamarta Theatre
February 24th 2026
Choreography and dance: Rafael Estévez and Valeriano Paños
Soloists: José Alarcón, Jesús Bergel, Pol Martínez, Manuel Montes, Jorge Morera, Jesús Perona and Yoel Vargas
Guitar: Alejandro Hurtado
