The festival climaxes with it's most representative show, well polished with the frantic rubbing day by day since it's opening night five months ago at the Bienal. Surrounded by young male dancers, Sara Baras tries to break the stereotype with craziness, telling the same old love story. So much cooing. First she hangs her lingerie on the rack and little by little enters the high society party; in the bulerías Juana Cañaílla excites the flaming veils of her skirt.

More like a Greek tragedy than a piece from the fifteenth century , the maddening jaleos of "pathos" were hedonistic and tragic, finishing off with Juana pulling out the hair of her rival. Taila Marín (played by Chelo Pantoja, and Juañares, author of part of the music along with guitarist Jesús del Rosario) sings a granaína-malagueña for which Sara dreams, and diverges (mmm.... the heirs to Enrique el Mellizo collaborate on all the malagueñas?), fandangos, sevillanas, seguiriyas, saeta, soleá at the start of the raving delirium, slow, death (Felipe el) Hermoso, in reality (José) Serrano. Another singer comes out on stage, Miguel el de la Tolea with his taranta like song in the style of Cigala, whose vidalita marks the climax. The violin gives the decisive touch to Juana's rondeña, -with a recently edited soundtrack- it reaches the point of insanity with a musical sweetness and without too much exaggeration.

Luis Clemente
Translated by Jessica Lorber