Cante: Curro Lucena, Paqui Corpas, Bonela Hijo y Rocío Alcalá. Guitarra: Juan Requena, Curro de María, Pepe Fernández, Andrés Cansino. Piano: Tony Romero y Enrique Bazaga. Violín: Santiago de la Riva. Baile: Susana Gil. Actor: José Luis Ortiz Nuevo. Pana de Verdiales de Comares.

MÁLAGA THE BEAUTIFUL

That’s what it said on the program notes for the last number of the evening in the cozy Vicente Espinel theater, a prelude to the show in Ronda’s monumental bullring.  A full-blown tribute to the flamenco of Málaga made by, and for Málaga natives.  It was a true privilege to have had the opportunity to see this show which brought together folklore, classic and flamenco music.

Panda de Verdiales de Comares

Curro Lucena

The folkloric verdiales group from Comares opened the midday show, and what an hour to schedule flamenco, but it was one of the best aperitifs I’ve had in my life, with the dances with flags, and the trios and couples of lovely young girls and delightful older ladies, the leader telling each one when to do his or her bit, and the musicians knowing how to play or sing slightly off-tune in precisely the right measure as per custom.  When they exit, José Luis Ortiz Nuevo introduces the rest of the performers who do not leave the stage at any point.  He recounts legends and rhymes about the history of flamenco’s malagueña.  Tony Romero, a blind pianist, plays Albéniz’ “Rumores de la Caleta” to introduce a first round of abandolao fandangos.  Curro de Lucena sings those of his birthplace, Bonela hijo, his own creations, Rocío Alcalá, does jabegote, and Málaga singer Paqui Corpas sings rondeña.

A full-blown tribute to the flamenco of Málaga made by, and for Málaga natives

Paqui Corpas

Susana Gil

There was a time when classical music looked to the malagueña.  It was a popular composition in the 19th century, as demonstrated by Pablo Sarasate’s composition, interpreted by violinist Santiago de la Riva and Enrique Bazaga on piano.  And then there was the dancing.  Susana Gil knows how to manage another classic malagueña, that of the maestro Lecuona, interpreted by Tony Romero on the piano.  A beautiful dance, difficult due to the absence of rhythm.  All that was missing was Don Ramón Montoya, and it was Juan Requena who reminded us of this great guitarist who set the standar for rondeña at the beginning of the 20th century.

Rocio Alcalá / Curro de María

Final

And finally, the actual malagueñas, in all shapes and colors.  Curro Lucena sang the ones of Chacón and el Canario.  Rocío Alcalá, of El Pena and La Rubia, Bonela hijo, of El Mellizo and El Perote, and Paqui Corpoas, of la Peñaranda and la Trini.  Susana Gil returned to dance rondeñas with an elegant brown bata de cola, accompanied the music of Requena nd Cansino.  All that was left was the fiesta finale, to verdiales rhythm of course, with the verdiales group and all the rest of the performers, and the whole place vibrating with the audience clapping along.

More information:

Special MÁLAGA EN FLAMENCO