{"id":17017,"date":"2019-12-18T01:50:11","date_gmt":"2019-12-18T00:50:11","guid":{"rendered":"https:\/\/www.expoflamenco.com\/archivo\/?p=17017"},"modified":"2019-12-18T02:05:00","modified_gmt":"2019-12-18T01:05:00","slug":"big-words-for-a-big-event","status":"publish","type":"post","link":"https:\/\/expoflamenco.com\/archivo\/en\/chronicles\/big-words-for-a-big-event\/","title":{"rendered":"Big words for a big event"},"content":{"rendered":"

Big words of encouragement are needed for those who are forced to retire due to circumstances beyond ther control, leaving them helpless. Carmelilla Montoya<\/strong>\u00a0is no longer able to fulfill that biblical curse, \u201cby the sweat of your brow you will eat your bread\u201d. She can no longer dance with that strength characteristic of her people and their ancient traditions, but she\u2019s still able to return the love and warmth that the artists and the people of Seville gave her in this third tribute show in her honor.<\/p>\n

Carmelilla is hurt, but she\u2019s still breathing, with pride, peace and joy, because she knows she has a place in the history of this art and in the hearts of her public and her colleagues. She\u2019s rich in love and art. She entered the stage joined by a sign language interpreter and Ricardo Pach\u00f3n<\/strong>\u00a0as MC, as he evoked that child whose fame took off when she was just 10 years old. A traditional, pure bailaora <\/em>with a solid understanding of cante<\/em>: these are three pillars of her art.<\/p>\n

Rafael Riqueni<\/strong>\u00a0gets the show started playing Amargura<\/em>\u00a0together with Manolo Franco<\/strong>\u00a0and\u00a0Paco Jarana<\/strong>, giving way to a beautiful dialogue between Rub\u00e9n Olmo<\/strong>\u00a0and the mant\u00f3n<\/em>, his well-known Ave F\u00e9nix<\/em>. The mant\u00f3n<\/em> in the hands of the flamboyant director of the Ballet Nacional<\/em> becomes a real person, a person with a soul. Rub\u00e9n and his mant\u00f3n<\/em> become intertwined, exploring intimacy. A master of new spaces.<\/p>\n

A round of cante<\/em>, cantes grandes<\/em>. Pechugita<\/strong>, <\/strong>El Pele<\/strong> playing mischief with his sole\u00e1 trianera<\/em>. Segundo Falc\u00f3n<\/strong>,\u00a0Tomasa<\/strong>\u00a0in her little chair with her white hair, clinching a seguiriya<\/em>. Pansequito<\/strong>\u00a0closes the round, chilling our bones.<\/p>\n

Women flirt with cante,<\/em> as if trying to keep death away or extend life itself, por tangos<\/em> and por buler\u00edas<\/em>. As if together in a yard, they link together each sound, invoking the sacred party of joyful participation. From the youngest, Alba Molina<\/strong>, to Remedios Amaya<\/strong>, they sing and seduce, dancing with the ease of maximum expression without knowing it, with elegance, the embodiment of Triana and Seville, or Seville and Triana.<\/p>\n

\u00abCarmelilla has made possible a historic review of one of the cradles of arte flamenco, and one of its strong ethical attributes. A star of Triana has once again shone its light upon paths we should never stop treading\u00bb<\/em><\/p><\/blockquote>\n

The granddaughter of Terremoto de Jerez<\/strong>\u00a0harness the power of her cante<\/em> and baile<\/em> with playful frills. The public express their mood. What a beautiful evening! The spice and grace of Gypsy women dancing barefoot, with loose hair and the poise of ancient goddesses of grace. Esperanza<\/strong>.\u00a0Remedios<\/strong>\u00a0closes with inspired words in her fiery voice.<\/p>\n

A parade of bailaores<\/em> extols. A bunch of women branch out in eager flamenco dance, joined by the excellence of Segundo Falc\u00f3n and Pechugita. The round is closed by Pastora Galv\u00e1n<\/strong>\u00a0in a white dress, her loose hair adorned by a simple pink flower, joined by the vignette of Rafael Campallo<\/strong>. Like a ghost, Amador Rojas <\/strong>comes in dressed in dazzling white, with cape and fringes, as the accords of the violin surround his original dance with flamenco feel. Maestro! Canales<\/strong> comes in and time is stopped with his contained presence, his internal rhythm creating sparks in the air on the stage. A heartfelt seguiriya, as the public demands.<\/p>\n

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