There was also an outstanding performance by guitarist Gerardo Núñez from Jerez. In a trio formation with contrabass player Pablo Martín and percussionist Cepillo, he gave a stunning display of his innovative way of making music with a guitar. The concert was tight; the music flowed smoothly, abundantly. His playing is convincing, natural, elegant, robust - just as it is on many of the tracks to be found on his latest album ‘Andando el tiempo’.

Dedication and enthusiasm, but without making a great fuss. Vigorous, but without flooding the senses. That's the guitar that not only leads the current flock of ‘tocaores’, but also defines the cutting edge. And to see it live is a must not only for flamenco lovers, but for music lovers of every persuasion who look for creative music that appeals to the mind and to the senses.

Gerardo Nuñez

The cante on that night was supplied by Capullo de Jerez, who has a staunch following here in Spain's capital. And that's no surprise for such a unique artist. He's one of the few remaining untamable flamenco vocalists, one whose cante is - in the words of Agujetas - sung with spelling errors. And he spouts forth his vocals with his whole body, with every possible gesticulation, making ugliness a virtue. And as if that wasn't enough, he sings his own lyrics, which makes a welcome change. Some of them even contain shows of solidarity. In fact, that night he sang tangos dedicated to the victims of the Madrid bombing on 11th March this year, whose chorus was surely imprinted on the memories of all present, at least for a while: “Tenemos que unirnos por la paz” - We have to come together for peace.

EL Capullo de Jerez

And there was dance, too. The season chose two Madrid veterans, both diehard old-timers, oozing charisma and skill: La Tati and El Güito. La Tati kicked off the proceedings alone, introducing herself in between the beats: “I'm La Tati, a bailaora from Madrid, lover of the stars that rock the heart of Madrid to sleep, and struck, struck a thousand times by a bolt of flamenco.” Her cracked voice underlined the dark sentiments of the seguiriya. With her lackluster group (two guitars, violin, percussion and cante) and clumsy technicians offering scant reward for her efforts, there was only one way to win over the crowd: with her dance. And she did so with all the strength she could muster, and with all the integrity and wisdom that age brings with it. And the audience was indeed won over, especially (if we had to choose a particular moment) by the farruca. A lesson in measured restraint, a delight for any traditionalist. If we were allowed to make one criticism of the Noches Flamencas season, or rather a suggestion for the future, how about a chance for young bailaores to show their talents just as the cantaores did? That would just be the icing on the cake of what was a very pleasant series of evenings out by the palace.

La Tati