It was the year of Expo '92 when the concert pianist and composer began his studies Santiago Lara (Jerez de la Frontera, 1984), winning in September 1999 the first prize of the Young Talents of Flamenco Guitar Competition that at that time was organized by the admired Peña Flamenca Los Cernícalos.
It would be a year later, in October 2000, when he captured the attention of all audiences by winning first prize at the III Young Performers Competition of the Biennial of Flamenco City of Seville, recognition that allowed him to mark a before and after in his artistic career.
Five lustrums later, it is comforting that in his own land Lara presents himself with Guitar solo, a concert dedicated to the recently deceased John White, manager who was of Manolo Sanlúcar, José Antonio Rodríguez o Vicente Friend Among the many, the instrumentalist conceives from the incipit –read beginning– as a whole the technical resource at the service of deep expression, and poetic lyricism and emotional content, beyond aesthetics, fashions or avant-gardes.
His unique style and highly personal way of interpreting his repertoire were emphasized from the granaína, executed from an aesthetic attitude, to continue with the farruca, conveniently analyzed, and aiming for new and broad horizons, beyond passing fads.
We were standing before a concert of perfectly defined melodiesWith a very clear definition of the themes, without emotional subterfuge, and on a chord progression very much in keeping with someone who knows the interaction of notes intimately, with a truly meticulous performance in the taranta he premiered last night and in the more than interesting transcription he made of The Vito, in which she highlighted the most subtle and refined nuances.
But Lara's proposal, sometimes restrained, sometimes overflowing, remains persistently at the service of emotion, as in the malagueña with an unexpected introduction of the Adagio de Albinoni, in which he observed how watching it being interpreted is transmitted not only with the hands, but also with gestures, forming together an aesthetic pleasure of the highest consideration.
"Santiago Lara has offered his full maturity in his native land thanks to a profoundly evocative body of work, stirring emotion and enjoying public favor. Of course, this honorary acceptance has come after releasing half a dozen solo albums and composing music for twelve shows by the Mercedes Ruiz company."
The guitarist revealed his secrets with the forcefulness of the premiere seguiriya, of which he gave a superb performance full of vivacity and depth, while enjoying the brilliance and transparency of the violinist's footwork Pablo Sarasate and so complex for guitar, or the stimulating alternative of the bulería, leaving as an “encore” the compositional collage of Master's degree, which Lara dedicates to the maestro Manolo Sanlúcar and where the right hand literally flew over the strings without ever losing the intricate musicality of a concert artist excellent in communication skills.
But to the lyrical sense that the composer displays, we add the suggestive expressiveness that distinguishes his inspired own work, in which, in addition to breaking down the tonal changes, the chromaticism and rhythmic audacity contained in his measures stand out, which he unravels with astonishing ease.
Santiago Lara himself made clear in his content his full identification with the guitar and musical personality of someone who, in his own land, has shown a degree of maturity that is commendable in all territories.
Another addition to the concert is the thematic variety, its enigmatic melodies in curious dialogue with the displacements of the left hand on the fretboard, to which the critic adds the central melodic juxtaposition and the special sense that the instrumentalist gives to the extremes, offering at all times security of touch, musical authority and mastery in the execution.
Finally, it should be noted that from the foregoing we can infer that We have found the composer and guitarist in a state of grace, with sufficient contribution and demonstrating at all times a creative approach to all the stylistic questions posed.
Santiago Lara has thus been recognized for having offered his full maturity in his homeland 25 years later, thanks to a profoundly evocative work that stirred emotion and enjoyed the public's favor, judging by the resounding and prolonged applause. Of course, this honorary acceptance comes after he has released half a dozen solo albums and composed music for twelve shows with the company. Mercedes Ruiz.
Credits
World premiere of Guitar soloby Santiago Lara
XXX Jerez Festival
Museums of La Atalaya, Jerez
February 21th 2026
Guitar: Santiago Lara
Sound: José Amosa
