Programming Mistela Festival 2025, in Los Palacios y Villafranca (Seville), stands out for its careful selection and for including artists from the various flamenco movements that inhabit this universe. Without a doubt, they cater to the manifestation of its diversity and to satisfy the taste of an audience that has become the heterodox nucleus of a centuries-old art that advances among the most current avant-garde movements. And not only in the cante, also does it on guitar, dance and instrumentals. For Friday night, el Pedro Perez Fernandez Municipal Theatre announces the performance of the Triana native Rosario La Tremendita y Dani de Moron, who present the show Transit (Fleeing from the noise), accompanied on drums by Manuel Queen.
As the singer herself pointed out, she moves in a binomial that gives her life and death, while also giving her the pleasure of singing. Flamenco by family heritage, a writer and artist by love of art, she moves from musicality, fusion, and the hybridization of different styles. She showcased her talents as a singer, jazz musician, and funk artist. Her musical compositions leave audiences impressed. who follows her closely, because in her thirty-three-year career she has demonstrated an evident evolution towards personal forms with a heartbreaking communicative capacity. Music is the channel, the flamenco the base and she the melody sung and played, because her bass always accompanies her.
There are those who claim that she is a bridge between the past and the future, a statement I find hard to accept. In her performance, I find myself confronted by a Tremendita who constantly brings the truth she has lived home. She lulls us with her voice, both sweet and energetic. She doesn't need to boast; she simply sings what she feels, exactly as she experiences it, with no ambition to impress. Her music is compelling enough to convince and captivate, or to leave the room humming the tangos with which she closed the concert.
A great knowledge of the palos flamencos to be able to put a soleá, a toná, or some tientos in a heavy rock key, with the ease with which she does them, and with the seriousness and musical quality that those cantes demanded. If this were not extremely difficult, any musician would sing flamenco without losing those basic canons on which we all distinguish the cantesShe's capable of elevating a milonga to the same level as a successful ballad. A bambera plays, she sings the bulerías her grandmother taught her, and tangos play.
«A great knowledge of the palos flamencos to be able to put a soleá, a toná, or some tientos in a heavy rock key, with the ease with which La tremendita does them, and with the seriousness and musical quality that those cante"s demand"
In a corner, on a platform, Diego de Morón, alone, with his guitar, admirable and exquisite in his touch, an unreserved accomplice of the singer, his six vocal chords are used to maintain a conversation with the cante that asks and demands more and more closeness, more complicity, more disruption. There is a communion in the traditional, the abstract and the contemporary of this show.
In the other corner of the stage, to the left, also towers imposingly on the platform the drums of Manuel Reina, the third high-profile musician accompanying La Tremenda. He represents the third leg of this trio band that undeniably uses music to enjoy, to feel, to experience freedom in their compositions, because they are free when they create. Reina possesses the gift of rhythm in his drumsticks, and La Tremendita seeks it out, transforming a fraction of time into a whirlwind of notes struck with tremendous flair.
On the stage The lights remind us of an impressive rock concert, which make up the spaces, adapted to the dimensions of the stage. From black to fog and the play of light, smoke curtains, overhead shots that project something divine onto the stage, transforming the atmosphere into colors and chiaroscuros where the performers approach and distance themselves from an audience that silently watches and enjoys the show. The occasional cheer can be heard in the rows of seats. The rest watch silently, feeling the message in their individuality.
The show Transit “Fleeing from the noise” It comes with a profound message that the tremendous Tremendita tells us with that tranquility that sustains her on stage, without a doubt. The journey that every artist experiences during their career in search of the essence of creation. A path full of obstacles that can disappear in a second, just as they build a wall that prevents us from seeing the other side. The play is an introspective conversation with herself, with her life, her successes, her doubts, and her works. She has been on stage for many years, and yet, the creator still needs to organize her inner self to shape the chaos outside and deliver what has yet to reach its final destination. That eternal search for the pinnacle of creative inspiration.
A journey away from the noise that will culminate in the release of her new album, still in its infancy, already about to be released, and full of freedom.
Credits
Transit (Fleeing from the noise), from Rosario La Tremendita and Dani from Morón
Festival Flamenco The Mistela of Los Palacios
Pedro Pérez Fernández Municipal Theater, Los Palacios and Villafranca (Seville)
17th October 2025
Cante, Guitar and Electric Bass: Rosario La Tremendita
Guitar: Dani from Moron
Drums: Manuel Reina
