According to the program, this was a night devoted to “the lure of the flamenco sound”. Macanita, Segundo Falcón and El Pele added a colorful touch on Friday night with their artistry. The theater was almost full and there was much anticipation to see what Pele would do in his first appearance at a Madrid theater since his record with Vicente Amigo was released.

Falcon: Searching the past to find the future

The stage is bathed in tones of blue to receive Segundo Falcón and his group. Falcón’s shows seem to have a certain innovative anthropological sense, as if searching the past to find the future, something typical of Morente, but in his own way. Cantiñas with a pleasant cajón that sought out the deep tones with a closed fist, a technique used by Antonio Coronel. Paco Jarana’s quality guitar combined with with Segundo’s professionalism resulted in an enjoyable product. The lights faded to yellow for granaína, and the fandango of Frasquita Yerbabuena ending with rondeña. A well-executed caña was followed by a intense siguiriya where the second guitarist (unnamed on the program) stood out. A closing of fandangos and perhaps fewer ‘oles’ than deserved.

Macanita: A certain sound reminiscent of Fernanda

Tomasa la Macanita comes on stage, without her ‘moon’ but with a colorful dress and red shawl that matches her all-out style. She starts with tientos that turns into tangos as the pace quickens. Macanita tends to begin her recitals in this way. A very internalized soleá during which, between cantes, a member of the audience shouted out “that feeling!”, and it was true since the singer has a certain sound reminiscent of Fernanda. Next was a siguiriyas in the same line. What the audience was really awaiting was bulerías where Tomasa is at her best. Flourishes ‘a la Paquera’, Jerez-style dancing, lots of compás and a rogue wind that sent her peineta flying across the stage as had happened the night before. Macanita is quite a spectacle to behold.

Pele: Less spectacular but more warmth

After the intermission, El Pele and Manuel Silveria. Manuel Moreno Maya started off with apologies for the cold he was suffering: “if I can’t make with this [pointing to his throat], I’ll do it with this” he said, pointing to his heart. The statement brought every imaginable shouted reaction from the audience (strangely enough, this was the night that attracted the most representatives the jet set), divided between those who wanted to send him home packing, to those who applauded his bravery in performing while ill. He began with soleá and followed with siguiriya. A well-received malagueña, and alegrías that was more spoken than sung (a rather successful experiment), to finally end, officially with bulerías, but actually with tonás, away from the microphone at the edge of the stage. This was the best I’d ever heard El Pele sing, perhaps because he was unable to reach his customary high tones and chose instead to sing in a low voice. In doing so, his voice acquired form and subtlety, less spectacular but more warmth. At the final curtain the applause was considerable, so we can deduce that the singer’s vocal problems had not been an obstacle after all.