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Antonio Barefoot
This past Saturday, it was presented at the Teatro de la Abadía (Fernández de los Ríos 42) Aurora Vargas Vargas (Seville, 1954) in white and silver. Show within the programming of the nineteenth edition of Suma Flamenca organized by the community of Madrid during this month and the beginning of the month of November.
On this occasion, the Sevillian artist was accompanied by Miguel Salado on the guitar and Javi Pena, Manuel Salado, Diego Montoya to the clapping and fussing.
It began with alejas, festive singing, which less and less serves as a starting point for flamenco shows.
Poster of no tickets to receive one of the most imposing figures of the current flamenco scene and even more so from the past.
It began with alegrias, a festive song, which less and less serves as a starting point for flamenco showsothers prefer to warm up their voice with more regal styles. This choice was clearly a declaration of intentions since the artist has always been characterized by proposing the happiest and most joyful songs as the basis of her shows.
Soleares played the second episode in the afternoon, with his vocal cords already more viscous and humid, he interpreted lyrics about the figure of the mother, what a loss means, and the love of a child.
Aurora, born in the Macarena neighborhood, exudes a gypsy spirit that fills the stage. His figure serves as props or LED screens on which the viewer can let their imagination fly and project on them images of the forge, the river, an unpaved street, a wedding or a kitchen where singing and dancing filled the time of the pouts.
Miguel’s accompaniment was simple, precise, and in which his thumb shone when the “alzapúa” was the protagonist of the falsetas
“What a job it costs me to achieve well-being” … how many times do you hear a phrase like this today… imagine the job it could cost her. Those words sounded linked in endless tangos, with ups, downs, comings and goings. He started dancing, sang a cappella, encouraged Miguel Salado to play the guitar and left us with several grimaces and smiles to remember.
The accompaniment of Miguelwas simple, precise, and in which his thumb shone when the “alzapúa” (technique in which the thumb of the right hand executes pulsations on the string from top to bottom with speed) was the protagonist of the falsetas. A classic touch that combines perfectly with the old feel that it proposes. Aurora.
To finish, some bulerías for which the Sevillian was helped by a beautiful black shawl with polka dots as big as her image. He danced in certain passages of the song, his fingers, his wrists and his arms drew circular strokes of great beauty and feeling.
He sang without the help of sound and against the odds it helped him. The guitar and the clapping lowered the decibel level and that allowed the audience to hear the end of each verse more clearly. The somewhat diminished faculties of “La Vargas” are no longer the same and she was able to compensate for that with her bravery and the metallic touch of her voice.
To say goodbye, he sang a small and very heartfelt soleá a cappella and the “staff” responded with a thunderous ovation and many of them stood up.
A successful proposal on the part of the festival and it must be said that the technical aspect of the venue could be improved.
Remember that flamenco does not stop until November 3rd.
#Aurora #Vargas #indomitable #quejío
