{"id":10088,"date":"2019-03-12T02:25:30","date_gmt":"2019-03-12T01:25:30","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/?p=10088"},"modified":"2019-03-12T02:25:30","modified_gmt":"2019-03-12T01:25:30","slug":"eduarda-de-los-reyes-debuts-in-jerez-at-the-closing-of-the-festival","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/chronicles\/eduarda-de-los-reyes-debuts-in-jerez-at-the-closing-of-the-festival\/","title":{"rendered":"Eduarda de los Reyes debuts in Jerez at the closing of the Festival"},"content":{"rendered":"

The last stretch of the Festival de Jerez has left us a unique moment: the premiere of Israel Galv\u00e1n<\/strong>\u2019s El Amor Brujo.<\/em><\/strong>\u00a0Once again, he turns his own style upside down, finishing his creative work with sparkles of brilliance. Many got bored in this presentation, but Israel knows this may happen. Yet, this artist from Seville flees all the prejudices, fears and limitations imposed in our days. Since a long time ago, he has been honored as a creative mind in dance, and that\u2019s why we find so many other contemporary artists attempting to emulate him on stage. From the musicality gifted to us by Falla<\/strong>, the musician and pianist Alejandro Rojas-Marcos<\/strong> builds the precise atmosphere for the debut of Eduarda de los Reyes<\/strong> in Jerez. \u201cAnd who is Eduarda?\u201d you may ask. Well, that\u2019s Israel himself dressed as a woman, with well-nuanced gestures and expressions, and with baile<\/em> interspersed with acting, always unveiling the message. The struggle, the oppression, the unease, the house chores, the dated chauvinist humor\u2026 Concepts that flow from his Picasso-esque arms, his straight wrists and a totally continuous, flowing sense. Fifty minutes that move the sensitive ones to tears and annoys the most conservative ones in the audience. Many are simply dumbfounded with fear of deciding whether they like this or not, trying to hide from the intellectual stares of others. \u201cDon\u2019t call me uncouth\u201d, they think out loud. That\u2019s just who Israel is, a genius on the stage, often surprising his public. Eduarda gets started in Jerez, wearing lipstick, her hair in a bun, breaking dishes and pots, putting out fires and building her own style, which is not quite the style of Israel. David Lagos<\/strong> is outstanding with his cante<\/em>.<\/p>\n

That same Teatro Villamarta<\/strong> was the stage for the companies of Fuensanta La Moneta<\/strong>, with Granada, s\u00f3lo tiene salida por las estrellas<\/em>,\u00a0Mar\u00eda del Mar Moreno<\/strong>, with Medea<\/em>, and David Coria<\/strong>, with An\u00f3nimos<\/em>. Fuensanta chose to steer away the stereotypical Granada, even as the story was based in the city of La Alhambra. We didn\u2019t quite understand what message she tried to convey, because what stood out the most was her Gypsy expression of baile<\/em>. The staging itself didn\u2019t seem to have any meaning beyond framing the good shape of this artist from Granada. The second artist, a full-blooded jerezana<\/em>, embarks in this project together with Pilar T\u00e1vora<\/strong> and her inseparable Antonio Malena<\/strong>. She acts, keeps her particular style of baile, and narrates. Without panic, she once again manages to convey her vision of the Greek myth were women are one more time vilified and insulted by society. Always relevant, Mar\u00eda vehemently defends the struggle for women\u2019s equality. Coria, on his part, gets immersed in his own space to try to find his own self, from the perspective of baile<\/em> and dance, in a concise manner, accompanied by Rafael Ram\u00edrez<\/strong> and Eduardo Leal<\/strong>, plus the outstanding cante<\/em> of Gema Caballero<\/strong>. Darkness disappears so that, from the freedom of creativity, the profiles become united into an unknown whole where sharing the soul is all that matters.<\/p>\n

The Palacio de Villavicencio<\/strong> venue, in turn, hosted three recitals of high quality: Alfredo Tejada, Juan de Mairena <\/strong>and Manuel Ta\u00f1\u00e9<\/strong>. The latter was the most outstanding of all, showing a daring courage, giving it all and, above all, moving the public with short cantes <\/em>which got straight to the heart. Jerez has always produced those cantaores<\/em> with a bohemian style, with that spark and pellizco<\/em> that invites the audience to stand up. Ta\u00f1\u00e9 represents the cante<\/em> of La Plazuela, convincingly singing all sorts of rhythms. Having said that, the performances of the two former cantaores<\/em> was also outstanding, with each of them showcasing their orthodox, traditional styles.<\/p>\n

Baile<\/em> was again present in the hands and feet of Y\u00e9ssica Brea <\/strong>and Fernando Jimenez<\/strong> at Sala Compa\u00f1\u00eda<\/strong>, and Paloma Fantova<\/strong> at Sala Pa\u00fal<\/strong>. Three interesting artists due to their flamenco styles, standing up for the origins of this art and betting on the idea of a traditional show of baile flamenco<\/em>, and always leaving space for cante<\/em>. Paloma was a veritable volcano, having gone from child prodigy to consummated artist. She has a legion of fans, with many well-established artists among them. She was accompanied by the cante<\/em> of Juana la del Pipa, the Gypsy cantaora<\/em> from the Santago neighborhood whose sole presence drew cheers from the audience.<\/p>\n

Y\u00e9ssica anb Fernando allowed themselves to be carried away by spontaneous preparation, by the thrill of being live. Although everything is rehearsed, those young artists always keep the style of their land, focusing their baile<\/em> more on the upper-body than on the lower-body.<\/p>\n

The pe\u00f1as flamencas<\/em> opened their doors once again this last weekend, welcoming Carmen Herrera <\/strong>in one of the best moments in this festival. And the Centro Cultural Flamenco Don Antonio Chac\u00f3n staged the performance of the young bailaora<\/em> from Puerto de Santa Mar\u00eda Diana Andrades<\/strong>, who is starting to stand out among her colleagues.<\/p>\n

The final act of the festival happened at Sala Pa\u00fal<\/strong> with Pepe del Morao<\/strong>. The artist in charge of lowering the curtain of this 23rd<\/sup> edition<\/strong> brilliantly showcasing his unique style from the root of his bloodline. He is inspired by his ancestors but he is able to add the whole story of his life. His compositions are further enriched \u2014 if that\u2019s even possible \u2014 by other instruments such as harp or violin. Jos\u00e9 Mijita<\/strong>, was outstanding por sole\u00e1<\/em> and por seguiriyas<\/em>, and Diego del Morao<\/strong> added a final buler\u00eda <\/em>which left us with a taste of nostalgia.<\/p>\n

Fotos de Javier Ferg\u00f3 para Festival de Jerez.<\/h6>\n

 <\/p>\n

\"Paloma

Paloma Fantova. Festival de Jerez. Photo: Javier Fergo<\/p><\/div>\n

 <\/p>\n

\"'Granada

Fuensanta La Moneta’s ‘Granada solo tiene salida por las estrellas’ . Festival de Jerez. Photo: Javier Fergo<\/p><\/div>\n

 <\/p>\n

\"Y\u00e9ssica

Y\u00e9ssica Brea. Festival de Jerez. Photo: Javier Fergo<\/p><\/div>\n

 <\/p>\n

\"Juan

Juan de Mairena. Festival de Jerez. Photo: Javier Fergo<\/p><\/div>\n

 <\/p>\n

\"Alfredo

Alfredo Tejada. Festival de Jerez. Photo: Javier Fergo<\/p><\/div>\n

 <\/p>\n

\"'An\u00f3nimos',

‘An\u00f3nimos’, de David Coria. Festival de Jerez. Photo: Javier Fergo<\/p><\/div>\n

 <\/p>\n

\"'Medea',

Mar\u00eda del Mar Moreno’s ‘Medea’. Festival de Jerez. Photo: Javier Fergo<\/p><\/div>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

The last stretch of the Festival de Jerez has left us a unique moment: the premiere of Israel Galv\u00e1n\u2019s El Amor Brujo. Many got bored in this presentation, but Israel knows this may happen. <\/p>\n","protected":false},"author":8,"featured_media":10060,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[70],"tags":[],"class_list":["post-10088","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chronicles"],"yoast_head":"\nEduarda de los Reyes debuts in Jerez at the closing of the Festival - Archivo Expoflamenco<\/title>\n<meta name=\"description\" content=\"The last stretch of the Festival de Jerez has left us a unique moment: the premiere of Israel Galv\u00e1n\u2019s El Amor Brujo. Once again, he turns his own style upside down, finishing his creative work with sparkles of brilliance. 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