El Festival Flamenco from La Mistela faces the end fulfilling a category poster. They preceded the Jerezana last week Juan Juanelo, who received the Venice to the Cante, which Maria has had since 2017, and Tomatito on the second night.
It was Jerez's turn and it was led by this petite and captivating girl who carries the singing heritage of a surname in her veins. Maria Terremoto She climbed onto the Los Palacios stage and was impeccable, once again dazzling the audience with a more mature flamenco performance. One of the few complaints she had was the length of the show. The good, if short, leaves you wanting more. That's the complaint she purred after the applause. She left us with honey on our lips. She rubbed the sweet on a child's mouth and took it away. This is a good sign, because even if it makes us angry, it means that she is very popular and the fans don't get fed up with her easily. I wanted more María.
Okay. But not one more finish with bulerías with the age of the little feet of the palmeros or a couple of bone-crunching fandangas in the air? Nope. And the crowd expected it even if it was the usual. She didn't like it when I picked her up without a little something, a tip at least.
This was due to a repertoire in which we saw a singer who was more solid and accomplished than usual, demonstrating knowledge and a versatility that marries tradition with the freshness of her turns around the sun. It seems that we forget that she is only twenty-four years old. And she is capable of raising passions in the stands swirling around tangos or bulerías from Jerez, just as she is tempering the bass of a malagueña or the new petenera from the album that is coming out with Universal Music Spain. Now I'll tell you.
The curtain uncovered the stage and flooded it with naked beauty of instrumentation. Maria broke the silence with The sonorous loneliness de Juan Ramon Jimenez remembering some fat little lyrics of Lole and Manuel. He searched his memory of good taste and drew: Everything is colorful. Sensitivity gave the first caress to leave the rest to the exquisite tuning, the good timbre, the sweet turns, the power and the packaging.
«We saw a singer who was more solid and accomplished than usual, demonstrating her knowledge and versatility that combines tradition with the freshness of her turns around the sun. (…) And she is capable of raising passions in the stands by swirling around tangos or bulerías from Jerez, just as she is by tempering the bass of a malagueña or the new petenera»
He accompanied her to the palmas a symphony of the beat: Juan Diego Valencia y Tarot. And the guitar is his inseparable Nono Jero, with whom she will be imagined in the memorable moments of the annals of flamenco. Precise, with a sing-song and to the foot, always on the lookout for the twists and turns in the corners of the voice of blue echoes of the sea of hope that bathes Earthquake's throat.
The cane evokes The Hen. The melodic stroll through the slower passages, without hurrying, and gives it the effect at the end, rushing into the cadences that do not forget any step. It does not stumble, as it does not do in malagueñas, cultivating those full basses that it breaks later abandoning itself to rondeña and fandango de Peppermint Bottle with substance.
He took the bad vibes away from the petenera. He uncovered with her those dark moments that hurt her, she needed to tell them. And he refreshes her, enveloping her in new airs, but asking: Soul, do not leave the body. It is the first single from his album Manifesto which will be released in January. Beautiful. Modern and traditional at the same time. And with it, he went backstage.
He left the group alone to spread their earth through bulerías. It was time to change costumes. From the black of a solemn first part to the festive white coloured with the nuances of his voice, which he released into the air without a megaphone during the tangos in which they entered The Repompa a The ticks. Extraordinary. Also to the dance.
Joys linked with short swings and salt. The wink of piñonate to those of Córdoba brought us the air of Utrera's Curro. And a closing with bulerías from the house bringing out the albarizuela shine, paying tribute to Juanito Villar and embroidering that of Lola is sailing across the seas, where she went after the well-deserved applause for a short but splendid performance. María Terremoto never disappoints.
Credits
Mistela de Los Palacios Festival
Recital by Maria Terremoto
Pedro Perez Fernandez Municipal Theatre
The Palaces and Villafranca, Seville
25th October 2024
Cante: Maria Earthquake
Guitar: Nono Jero
Palmas: Juan Diego Valencia and Tarot
