Almería becomes the major figurehead of flamenco in Madrid -the capital city of Spain- thanks to the tarantos. The eighteenth festival was both an artistic and public success.

Almería was, again this year as well, the flamenco major figurehead of flamenco in Madrid because of the Festival Flamenco por Tarantos a Almería (Flamenco Tarantos Festival dedicated to Almería). The festival, which was held in the San Juan Evangelista Hall of Residence on the 19th and 20th of this month, celebrated eighteen years. The show was sold out on both days. The young cantaoras María José Pérez and Toñi Fernández were the artists representing Almería, as well as the veteran cantaor Alfonso Salmerón, amongst other flamenco stars.

Without any doubt María José Pérez is the cante sensation coming from Almería thanks to her command of the music, her great voice and her wider and wider knowledge of all the cantes. Her performance of the tarantos was brilliant, but the seguiriyas were even better. Within the great performance of Toñi Fernández, the tarantos of Manuel Torre and the bulerías she sang at the end were outstanding. Alfonso Salmerón, who was as good as he always is, was especially applauded throughout his performance of a wide range of cantes de levante and the very typical flamenco caracoles, which are rarely performed.

Two great nights

The great cantaor Chano Lobato presented his show the first day. He displayed tremendous friendliness while performing short parlamentos. In fact, all the cantes he played were wonderful, such as the alegrías and the tanguillos from Cádiz. The performance of the compás by Diego Carrasco and the flamenco songs of Manuel Molina were also remarkable.

During the second day we listened to some masters of flamenco such as Rancapino, Fernando Terremoto and José de la Tomasa. Rancapino, who has always had a personal way of performing and a particular quejío -lament-, gave his best in all the cantes he performed. Fernando Terremoto is one of the leading exponents of cante puro. He began performing some of the most important cantes, such as the soleá and seguiriyas, emphasizing his own personal style; to finish his show, he performed a toná -cante a capella-, without a microphone, showing strict respect of compás -musical meter-. The performance of José de la Tomasa has been one of the best in the history of the festival. When he finished he received a standing ovation.