I have seen many times dancing Juan Thomas de la Molia. And another handful to Agueda Saavedra. But what they created in Córdoba was amazing. With the guitar of Jesus Rodriguez, full of thick drones and resounding alzapúas, powerful pulsation and sensitive caresses, full of tiraíllos, dizzying picaos, neat tremolos and crystalline arpeggios, and the cante from Jerez Manuel de La Nina, full of inspiration, tremendous in the seguiriya of Beans, The Marruro y Uncle Jose de Paula, which he fastened by throwing the remains with the Puerto male of Curro Durse, offered a recital of supreme category that melted The Syrup from Córdoba, surrendered at the feet of these young dancers who are destined to be the cream of the future that we are already experiencing.
Juan Tomás is undoubtedly the best flamenco dancer of his generation. Águeda Saavedra, the greatest exponent of feminine sensuality in pure female dance. And united in hand to hand, or in feet to feet, hand to hand, this art couple combined the substance and the packaging of what jondo assisted by the goblin that lives down the stairs of the Calleja del Niño Perdido, where they guard the warmth of the fans like nowhere else in Córdoba.
The melody of tangos broke the sepulchral silence that permeated this blessed house. And the woodwork was awash with flowers and polka dots on the shirts and dresses of Juan Tomás and Águeda. With two waist movements they traced the sway. And with a heel-tap, Juan Tomás left his place so Águeda could finish off the stage of El Almíbar, generous with well-timed oles. The rest was the delight of the rhythm and the sweet figures that these dancers, touched by a magic wand, melted like caramel in a pas de deux. When the sugar was distributed, they both fell in love. And they sprinkled it from toe to fringe every time they drew pictures of madness with their flamenco features. They danced one to the other in a ritual of seduction. They ate each other with their glances, they courted each other with their hips, their ruffles, their arms, their thighs, their eyes, their hair and their eyelashes., spreading his naked passion for the enjoyment of the audience, who witnessed how he falls in love while dancing and how two lovers dance.
The Levantine airs crept through Jesús's fingers, whose guitar sounds good even when he drags his fingertips along the ebony frets of its neck. The sound of the song alone on stage tickled my heart. And then the solemnity arrived with Águeda, who dressed his flesh in mourning and his lips in blood red, through which her painful breath escaped to move the black strands of hair that fell over her face. The soleá pierced his body. Tension bristling with bitter duchesses filled him. She walked slowly and elegantly, twisted her figure contritely, showed off an exquisite arm movement, her back always in place and her gesture overwhelmingly jondoLong-suffering and racial. Strong feet, hard tapping. And what a way to gather herself and move her dress! Flamenco, beautiful and sensual even in her fatigue. A true woman. She knew how to stop time, restrain herself when necessary, gradually trample her sorrows in the escobilla, and unleash the fire of the ceremony, tousling her hair, breaking it, to then remove her jacket and allow herself to be embraced by Manuel, who twists her around, accompanying her to the edge of the abyss of the stage.
"Flamenco, beautiful, and sensual even in her fatigue. A true woman. Águeda Saavedra knew how to stop time, restrain herself when it was time, gradually trample her sorrows on the escobilla, and unleash the fire of the ceremony, tousling her hair, breaking it, only to then shed her jacket and allow Manuel to embrace her, who twists and turns, accompanying her to the edge of the abyss of the stage."
After the mournful seguiriya that crackled the lament of Manuel de La Nina's sooty throat, Juan Tomás was a gush of foam and salt for alegrías. Gallant, manly, and rakish, he spread age and grace with little jostle movements, macho swaying, round arm movements, and baskets of rhythm, of which he has more than enough. With absolute mastery of timing and silences, as well as counterpoint, Juan Tomás won over the crowd because He danced to make everyone smile, gallant and seductive, jovial, with a mischievous smile and loaded with aesthetic resources, affronts and kicks.. Strong, precise feet, sanity-threatening tapping, shoulder movements, glances, gestures, little jumps, toes, and booty shakes, that way of holding his jacket, that way of playing with the dance and doing whatever he wanted, enjoying every second of the spontaneity that springs from natural inspiration, made for a top-notch recital alongside his dance and romantic partner and the accompanying group who carried them better than in their arms on the proscenium of El Almíbar.
For dessert, a final party with bulerías that was joined by Manuela del Moya, wasting the molasses that he treasures in his plaintive voice, Miguel Angel Heredia, full of trapío and sensitivity to dance and to cante, Bernardo Miranda, who cracked his bell-shaped nut, and Yolanda Osuna, with his good little kick. The ovation made the greeting eternal and the applause did not stop until they left the dressing room again to put the icing on the cake with the cante of Juan Tomás, remembering Gaspar de Utrera y Luis de la Pica, a little brushstroke of art from Jesus to the dance and a goodbye that sounded like a see you later because the peña It vibrated like never before and wanted more and more, eager for unrepeatable and unforgettable moments like these that will remain in the bag of perfect memories saved for posterity.
The Syrup
It is surprising that from an almost hidden portal in an alley in Córdoba one descends to the paradise of the jondo. All that's left is to utter the password and you'll reach the basement of pleasures. peña flamenca For fifteen years, the underground concert hall has been contributing to the Cordoba public with a program worthy of the best venues. But it doesn't smell of rancid camphor, nor of corduroy or mothballs. It has no subsidies, it's self-managed, it receives the stipulated donations for each recital, and they take care of every detail, both for the audience and the artists. They know how to listen, they love and respect the flamenco.
Lolo Caricatu y Eduardo Parrac They are responsible for well-designed posters. And twenty-six members ensure a quality agenda and organization. Outside of the usual circuits and norms, they pack out the recitals, which attests to their good work. There's an incredible vibe there. The crowd is diverse. Old-timers mingle with children, young people, students, artists, flamenco experts... united by a common passion: flamenco.
On a wall are the signatures of the artists who have performed on its stage, the background of which is presided over by a photograph of the great chief. Paco de Lucía. On the side is Antonio Mairena. In the background music a playlist the most flamenco. And Luis presents a fucking mess – can I say it? – Let's see what peña you find a presenter who does not take out papers or a string of data from memory but a bottle of beer and gives a speech encouraging people and the flamencowith unprecedented audacity. This is something else. And it also fits in the flamenco. What's more: it's a pleasure to go in. And when it's all over... "Now to drink some glasses!"
This, its people and much more is El Almíbar, probably the best peña flamenca From Cordoba
Credits
Dance recital by Águeda Saavedra and Juan Tomás de La Molía
Peña Flamenca The Syrup, Córdoba
March 14th 2025
Dance: Águeda Saavedra and Juan Tomás de La Molía
Cante: Manuel de La Nina
Guitar: Jesus Rodriguez
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