“Únicos”. Voice: Manuel Moreno ‘El Pele’ and Remedios Amaya. Guitar: Raúl El Perla (Remedios Amaya) and Niño Seve (El Pele) Voice and rhythm: La Mari and Carmen Amaya. Percussion: José Moreno.: 26th Cumbre Flamenca de Murcia. Saturday, February 23rd, 2019. Teatro Circo. Full house.
Sara Arguijo
She came on stage powerfully, self-assured, charismatic and reachable. All set to get the audience eating out of the palm of her hand, flattering the city that received her with open arms and with which she had “an outstanding debt”. After just five minutes she’d already taken her shoes off and was singing without music to show what she does best, “from the heart”. In other words, Remedios Amaya followed her standard script, blow by blow, and with the regular repertoire, with an overdose of bulerias and cuplé that El Perla basted together with good taste and a very flamenco and inspiring sound (and the applause was for him).
In a certain sense, the Seville artist knows no one is expecting surprises from here. On the contrary, she has become the symbol of an era and a way of singing because, although it’s not always recognized, Remedios has been the artist most listened to and imitated of an entire generation of female flamenco singers who are now about 30. Because of that deep metallic sound, that still sounds so good, and the unmistakable worn timbre with which she hurts and protects. And also for being among the few voices in flamenco that has racked up major hits such as Gitana Soy and Quién Maneja mi Barca that she sang as a finale to the half-hour recital, with the entire audience singing along.
And following the excitement generated by Amaya, came the sparks of a “genius”, as the Murcia audience shouted out, a Pele in top form, appearing at times like a rock star amidst much cheering. All because the Córdoban is probably the most original singer of any at the present time, but also because he connects the most easily, when he feels like it.
To his sense of rhythm, his way of working the forms, his command of the low tones and his ability to hit the high notes, we must add his having adapted the schools of Caracol and Morente, and tremendous creativity. Which is why he always holds your attention. He gets to you, he gets you jumping out of your seat, he breaks you and he destroys you. And while we’re at it, we could dwell forever in his soleá. With him, and with the guitar of Niño Seve who offered magical music throughout the entire recital.
On this occasion, the singer looked to the most festive forms (rumba, sevillanas, alegrías…), and also filled the wished of those who requested “el moro”, “amigo” and “el pañuelo”, something which, on the other hand, tells us that El Pele crosses the frontier of flamenco followers and is enjoyed by all types of spectators. Few people have so many hit songs!
The bottom line is, as the headline suggests and as was demonstrated jointly in a moving closing of bulerías that was in turn wrapped up by Pele’s tonás, both artists demonstrated their uniqueness. Genius and icon. Icon and genius.
Photos & videos – Rafael Manjavacas
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