‘FLAMENCO VIENE DEL SUR’ IN SEVILLE
MERCHE ESMERALDA/ DIEGO EL CIGALA

Amidst boleros and soleares

Carlos Sánchez. Seville, April 4th, 2006

‘Por arte de magia’ (‘By Art of Magic’). Merche Esmeralda. Cante: Charo Manzano and Jesús Méndez. Guitarist: Luis Miguel Manzano and David Cerreduela. Violin: Juan Pablo Muñoz/ Diego ‘El Cigala’. Cante: Diego el Cigala. Guitarist: Diego del Morao. Piano and keyboards: Yumitus. Contrabass: Yelsy Heredia. Percussion: Sabú. 2006 Flamenco Comes from the South Series. Teatro Central. Seville, April 4th, 2006. 9 p.m.

Merche Esmeralda (Photo: Antonio Cid)

At the expense of the holding of the concert of the ‘2005 La Unión Winners’ – which was postponed from March 7th to April 18th on coinciding with the tribute to Antonio Núñez ‘Chocolate’ at the Teatro Maestranza – the ‘Flamenco Comes from the South’ series came to an end with the baile of Merche Esmeralda and the cante of Diego el Cigala. The Sevillian bailaora returned to the stages of her native land following an absence of several years. And she did so with renewed excitement and with enough serenity and calmness to face a new stage in her dancing in which she aims to enjoy every moment. Diego el Cigala, on his part, offered the crowd most of the album which catapulted him to success, ‘Lágrimas negras’, and some songs off his latest record, ‘Picasso en mis ojos’. The Madrilenian artist went well beyond the time indicated in the program.

Charo Manzano’s melodic voice kicks off the show. Her echo circulates under the chords on the guitar of Luis Miguel Manzano. Problems with the sound. Meanwhile, the figure of Merche Esmeralda appears concealed behind the elegance of the Manila shawl. Little by little, her countenance can be made out, protected by the harmony of the violin. Through seguiriyas. Jesús Méndez imbues the night with jondura. The Sevillian artist displays the cadence of baile. Subtlety and delicacy in handling the shawl. But a bit shaky in the finishes. A musical bridge. A solo on the violin, an instrument which is taking root in flamenco expressiveness little by little. Just a few brief notes to get the soleá ready. Merche Esmeralda rests her bata de cola on the wicker of the rush-bottomed chair. She gets up. Slowly and smoothly. Taking possession of the stage and her bata de cola little by little. Moving it vehemently from one side of the stage to the other. With arm movement which speaks for itself. And with an image that gets olés at every grace note, at every foreshortening. Arching her figure like a Hellenic model. And withdrawing with strength and decision until she settles once more on the throne of triumph.

Lágrimas Negras

	Diego el Cigala (Photo: Antonio Cid)

Diego del Morao’s guitar opened the second part of the night. Through bulerías. With the mark of his land. With the flavor and rhythmic tapping of Jerez. And with flourishes bathed in fresh harmonies. The young Jerez-born artist made way for the rest of the company. The piano sounds. ‘Inolvidable’, the first song on the album ‘Lágrimas Negras’. Following the intro, the Madrilenian cantaor sits on his stool to provide the performance with continuity with ‘Veinte años’, ‘Corazón loco’ and ‘Lágrimas negras’. He then moves on to the fandangos of ‘La paloma’ by Rafael Alberti, a song included on the album ‘Picasso en mis ojos’. Following a repertoire eminently dedicated to the bolero, El Cigala briefly turned the tables in the soleá through bulería, in the bulerías and in some tangos dedicated to the exceptional Málaga-born painter. A brief break, returning with the classic bolero ‘Dos gardenias’ and closing with the night’s most emotional moment, ‘La bien pagá’, which was joined by the elegance and sensuality of Merche Esmeralda’s baile. A piece with great esthetic appeal.

magazine@flamenco-world.com