I like the dance of Manuela CarpioYes, I admit it, and I say it without hesitation. Don't look for elaborate choreographies, bland speeches, or instruction-book proposals in her. Just look into her eyes and you realize that everything she delivers is true. I knew what I was here for: to rub dance in my face, to enjoy the joy of gypsyism, and to savor what is in danger of extinction these days. La Carpio made the call.
I know I sometimes get criticized because I'm a fun-loving critic: I never miss a party. And I have no qualms about hugging artists with whom I maintain a certain friendship, what some call camaraderie. But I don't mortgage my criticisms because of it either. I don't hide, I don't care. For better or for worse.
That said, let's get to the point. First, the bad. Or the less good. Or the things that could be improved, depending on how you look at it. Manuela chose a picturesque or garish outfit to dance soleá, depending on your taste. And it was discussed in the groups of fans. As was the "noise" from behind. Even so, Manuela and her people shook the peña, who turned around cheering her on and showering her with oles in abundance with each of the gestures of substance that he poured onto the sunny boards of Torres MacarenaIt was the first day of dancing since the summer, and the crowds were packed. There was excitement. And Manuela Carpio came out through the front door with a well-done performance.
"Manuela Carpio knew how to stand on the beams with the sumptuousness of the soleera, striding gracefully with a sorrowful expression. She clung to dark classicism and didn't hesitate to experiment with modern dances. She danced as it should be, faithful to traditional canons, flamenco and gypsy. Nothing more."
John Requena He accompanied her on the guitar, with plenty of rhythm, with very flamenco falsetas and neatness. cante, powerful, with a soniquete and an exaggerated torrent was Manuel Tañe. In addition to the throat jondo, rancid and with a palate of Miguel Lavi, which marked an anthological series that will remain in the history of the temple of flamenco Macareno. He overwhelmed the audience, who stood up in the middle of the show to embrace him with a tremendous and warm ovation. It lasted three or four days. It had never happened before. At palmas Ivan de La Manuela, which had its moment in the art pataíta and with its cante overwhelming, evoking to the point of imitation the airs of the jacket; e Israel de Juanillorro, who also got his kick. In addition to Juanillorro chico, a young lad that Manuela enjoys when he comes around to try out the stages.
Requena opened with a guitar solo brimming with sensitivity. With the capo, the guitarist lacked the neck to unleash the sweetness. Then Tañé sang, trying his hand at the bulería por soleá, showing off his deep voice, stitching a fandango. Lavi settled in without shouting for the soleá, scratching at each section and slowly dragging the rhythm. cante old. There Manuela danced. Lavi continued with the seguiriya in capital letters, chewing on the fatigue that was flocking from the centers to push them to their nut of albariza terroirs and stab us with sorrowful laments of seguiriya. He jirió a lot, period. And then came from Jerez the revelry of bulerías with a rich finale in which the intervention of Ivan Carpio al cante, with packaging and trappings.
Manuela knew how to stand on the woodwork with the sumptuousness of the solea, strolling with gallantry and a contrite face. She clung to dark classicism and didn't hesitate with modern experiments. She danced as it is written, sticking to the traditional canons, flamenco and gypsy. Nothing more. Then she did the same with bulerías, with the graceful swaying, the required heel tapping, and the usual arm movement. The forceful markings and replanting, the expected figures, the seductive movements of the dress... were the ingredients of the essential majao that give flavor to her dance. It is what, within the apparent simplicity, provoked along with the palmas, cheers and the ardent cooing of the painting that accompanied her, that her passage through the woods of the peña became the endless party.
Credits
Dance recital by Manuela Carpio
Peña Flamenca Torres Macarena, Seville
10th September 2025
Dance: Manuela Carpio
Cante: Manuel Tañé and Miguel Lavi
Guitar: Juan Requena
Palmas: Iván de La Manuela and Israel de Juanillorro
Guest artist: Juanillorro chico
