There are times at rock concerts where the guitarist snaps and turns the knob on his amp to eleven, causing everything to come crashing down around you. A moment like that was what happened when Rocio Marquez raised her voice even higher in the final moan of Menese ‘srondenas and time stopped. With that cante I update Moreno Galvan ‘s harsh and testimonial poetry to continue pouring out truths in the text by Antonio Orihuela , the poet from Moguer , which Rocio later turned into a romance, at times he sang, at times he recited, but at all times he felt; deeply felt. And to the relief of the ravaged eyes, tirititran, tran, tran, how the eyes shine like two suns and a finale by snails that made Antonio Chacon elbow Manuel Pavon with an accomplice up there, laughing at both of those who say that The girl doesn’t know how to sing. If Rocio’s recital was magnificent until then, in this quarter of an hour it was sublime .
That was the best moment to invite us to recognize the enormous merits of his guitarist, Miguel Angel Cortes , who responded by giving himself completely to the immensity of his guitar playing, accompanying her in the seguiriyas of theShoelaces . His falsetas were flamenco poetry that was even more beautiful than the one he reeled off by introducing the tangos before , which began in Lebrija and ended in Granada because, as Rocio told us, Grana por tangos is full stop and that is the land of Miguel Angel.
The voice and the guitar did not steal prominence, it was a perfect union . His was a subtle way of complementing each other so that the strings would not break the melisma when Rocio concluded Silverio ‘s serranas with a cante abandolao , nor when a short burst of fandangos from Alosno turned into some petenerasthat glorified the Nina de los Peines . Miguel Angel was also the one who built the bridge on which our souls fell to pieces when we crossed it from the tarantas accompanied by mineras that Rocio began on one side to finish them on the other with the poem by Miguel Hernandez that Morente put in his day by songs of liftThe teacher from Granada was very present last night; not only in the previous tangos, but also in Bachin’s Chiquilin, an Argentine tango in which he changed the rhythm from a waltz to a buleria, with which Rocio opened the night, in a somewhat cold reception that did not receive the oles and the warm applause that were already a common factor for all the cantes that followed the later serranas.
The back and forth cantes were present with the guajira in which Rocio mixed habanera lyrics; the breaking of the canons, in the cuples por bulerias at the end: You bewitched me and Love was broken for us, made one as in the Visto album by him on Thursday. And an apotheosis that made them come back to, standing up, give us some fandanguillos from Carbonerillo topped by the same stick with Julian Estrada ‘s hymn to tolerance, respect and understanding.
The end of the Three Cultures Festival
could not have been better , organized by the Three Cultures of the Mediterranean Foundation together with the Andalusian Agency of Cultural Institutions and the collaboration of the La Caixa Foundation , to give value to the important musical legacy that the coexistence of Sephardic and Andalusian traditions with flamenco. Ana Alcaide , the first night, and Iman Kandoussi , the second, had already dazzled us with their voices and shown their commitment that they maintain with their cantes, in the same way that Rocio Marquez did on the final night.
