Text: Rubén Gutierrez
Photos: Málaga en Flamenco

COMING ON STRONG

They all stood still for a family portrait at the end of the show, a moment that is not likely to be repeated.  Eight performers, one from each province of Andalusia, and all under 27 years old.  With this new generation, the future of flamenco is guaranteed, because these people have first-class technique, knowledge and good flamenco taste.

Sergio Monroy

Pianist Sergio Monroy opened the show.  The man from Cádiz chose a piece based on mining cante and closed with bulerías accompanied by the percussion of Katumba.  One point about this bienniel, the programs handed out at the door are more confusing than helpful as it is rare that the recital corresponds to the program notes, not a good way to introduce new artists.

We continue our excursion through Andalusia stopping in Jódar, Jaén, birthplace of Gema Jiménez who brought the coveted Lámpara Minera prize to the town.  Her daintily adorned delivery was applied to tarantas and serranas, accompanied by Eduardo Rebollar.  This was followed by the first dance of the night, with Sergio Aranda from Málaga, one of the stars of  the last Málaga en Flamenco festival, although he wasn’t quite on top of the bulería por soleá and overdid the footwork.  He was accompanied by Juan Requena and Miguel Iglesias on guitar, Simón and Morenito de Íllora singing and the percussion of Juan Heredia.

Pitingo

First-class technique, knowledge and good flamenco taste

The next stop is Huelva, with singer Pitingo.  Accompanied by Juan Habichuela “El Camborio”, he sang a forceful granaína, but for fandangos he got going with his “flamenco soul”, which may have been a novelty when he first brought it out, but has become tiresome.  And his bulerías version of Julio Iglesias’ “Gwendoln” was equally off-base.  The first part ended with Seville dancer María José León, daughter of El Ecijano who sang for his daughter, along with the guitars of Manuel León and José Luis, and the compás of La Piñona and Rosi Navarro.  Had it not been so long we could have spoken of a fine soleá por bulería, but as the number went on, the dancer became more and more fatigued and there was obvious imprecision.  All the same, the Seville girl had the good sense to base her choreography on the most classical elements of this art.

The intermission gave needed time for a stretch, there was still plenty of show to sit through.  Niño Seve’s guitar opened the second half.  The Córdoba guitarist interpreted a soleá de Córdoba, making it clear he deserves attention.  And the best part of the show came next.  First María José Perez, the most outstanding singer of the moment from Almería.  Well-backed-up by Granada guitarist Miguel Ochando, she delighted the audience with her malagueña, taranto and alegrías.  Another young hopeful, closer to a reality, is Granada dancer Patricia Guerrero.  At just 17 she managed to carry off the Desplante Minero prize from La  Unión, and she returned to treat us to some siguiriyas in which she pulled up all the temperament of her almost paisana Carmen Amaya.  This girl works every single part of her body, and the back-up was noteworthy: singers Juan Ángel Tirado and Antonio Campos, and the guitar of David Carmona.

There was still the fiesta final which started with the appearance of the verdiales group Panda de Retoños de los Montes marching down the aisles of the theater, young Málaga musicians who would eventually join the rest of the group for this show called “Ocho Territorios”, in an emotional ending that featured the cantes of Málaga.

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Special MÁLAGA EN FLAMENCO