José Mercé arrived at Teatro Jovellanos with all paper sold to put your icing on the Word Festival organized annually, always interesting posters, the coliseum in the Asturian town. The first state media wrote that noise is a masterpiece of Flemish did nothing but get us out loud when I read, this last album was the one presented Saturday night in Gijon, but passed by like a sigh .
José Mercé began his recital flamenco singing for me was a surprise. For his work as a singer has been forgotten since he began flirting with the popular song with Dawn in 1998. Then come Mess and Jerez, a descendant of one of the most important dynasties of Andalusian flamenco, the Deaf, was totally lost for flamenco, and do not consider myself an orthodox or flamencólicos, as would Raimundo Amador.
Mercé, who was accompanied by Daniel Morón and Juan Carlos Romero, substitute Manuel Mora, who is on sick leave and they remembered from the stage to great applause, she sang three songs that was the best of the evening. For 'Malaga', 'Sole' and 'fandangos' rang flamenco but I found these songs very flat, effective and fairly common letters.
When I remembered was hearing the maestro Enrique Morente, who still have their bad days always surprised us with older versions, letters rediscovered that was about to forget and a personal touch. And that's not on stage I saw the Coliseum Gijón. Then, things relaxed and José Mercé, who had already surrendered to the public, who applauded him wildly, sang two songs from his new album, mostly irrelevant, and in between put 'Mess', one of his greatest hits could not missing that evening.
The versions that sang the''onion Nana 'by Miguel Hernandez Joan Manuel Serrat versioneó in 1972,' At Dawn ', originally by Luis Eduardo Aute,' Mamy Blue ', which made great the Pop-Tops, which bis reached by popular demand, there were more than that, versions flamenco. Y 'Volver', which passed through the sieve of bulería, I thought it was embarrassing.
And I could not miss 'Air', his greatest success, which will be the status he has within the Spanish folk music.
José Mercé began his recital flamenco singing for me was a surprise. For his work as a singer has been forgotten since he began flirting with the popular song with Dawn in 1998. Then come Mess and Jerez, a descendant of one of the most important dynasties of Andalusian flamenco, the Deaf, was totally lost for flamenco, and do not consider myself an orthodox or flamencólicos, as would Raimundo Amador.
Mercé, who was accompanied by Daniel Morón and Juan Carlos Romero, substitute Manuel Mora, who is on sick leave and they remembered from the stage to great applause, she sang three songs that was the best of the evening. For 'Malaga', 'Sole' and 'fandangos' rang flamenco but I found these songs very flat, effective and fairly common letters.
When I remembered was hearing the maestro Enrique Morente, who still have their bad days always surprised us with older versions, letters rediscovered that was about to forget and a personal touch. And that's not on stage I saw the Coliseum Gijón. Then, things relaxed and José Mercé, who had already surrendered to the public, who applauded him wildly, sang two songs from his new album, mostly irrelevant, and in between put 'Mess', one of his greatest hits could not missing that evening.
The versions that sang the''onion Nana 'by Miguel Hernandez Joan Manuel Serrat versioneó in 1972,' At Dawn ', originally by Luis Eduardo Aute,' Mamy Blue ', which made great the Pop-Tops, which bis reached by popular demand, there were more than that, versions flamenco. Y 'Volver', which passed through the sieve of bulería, I thought it was embarrassing.
And I could not miss 'Air', his greatest success, which will be the status he has within the Spanish folk music.
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