Intuitive, fresh, expressive, visceral, earthy. The dancer and choreographer Rosario Toledo has managed to be at the top of contemporary flamenco dance thanks to her creativity and her ability to transmit to the viewer the essence of what surrounds us. Graduated in Spanish Dance by the Superior Conservatory of Dance of Seville, she begins her professional career with her teacher Charo Cruz with the show ‘Por ley de vida’ and is part of the Company of Manuela Carrasco and Antonio El Pipa.
From this moment, he combines his activity in renowned tablaos such as ‘El Cordobés’ in Barcelona or ‘Los Gallos’ in Seville with his collaboration as a guest artist in shows with artists of the stature of Javier Latorre, Javier Barón, Antonio Canales, Israel Galván, Joaquín Grilo, Miguel Poveda, Arcángel, Dorantes or José Antonio Rodríguez, among others. In addition, he works as soloist with Mario Maya in his show ‘De Cádiz a Cuba, la mar de Flamenco’.
The contact with these great masters has allowed him to develop a personal vision... +
...of flamenco dancing. A deep, conceptual dance with ideas but, at the same time, puts your feet on the ground, clings to nature and goes out into the street. In this context, Cádiz is immersed in the development of projects with its own company, reaping an enormous success from critics and audiences and becoming an essential dancer in the current flamenco scene.
Among the recognitions she has received throughout her career, Rosario Toledo has won the National Prize in the Flamenco Art Contest of Córdoba for Guajiras and Tarantos (1998); the second Prize of the Festival of the Mines of the Union in 1999; the Giraldillo Award for Best Show at the Seville Bienal de Flamenco 2012 for ‘Aleluya Erótica’ and the 2012 Seville Stage Award for ‘Erotic Alleluia’ for the Best Dance Show.
Such vineyard splinter; siguiriyera and honda, pierced by the centuries of its ancestry. Vineyard of Cachucheras and Mejoranas, monks of a convent with orchard in the Cerca of Capuchinos; of Josefa Castrero, the Blonde of the Vineyard, of Pepa Oro who comes from Lima with paternal light suits and milongas under her arm; of children of La Rosa and La Viña (Antonio Vinaza and Manuel Moreno), or Felipe Scapachinni with the Jinetos and José Herrera on Angel Street.
David Palomar picks up the traditional molasses and the invisible cries of his neighborhood, his land, his fertile singing region: Cádiz and Los Puertos. Its thirds are swayed, as the biyuela in El Aculaero does on the backs of the waters, and they preserve the majesty of a Terciao fishery – that’s why it inserts the thirds. That is his claim. That’s his anguao. That’s their denomination of origin. That’s his attractive drive. That is why on stage David intones the toná and evokes the tonino; she raises her arms and dances the... +
...dance, with her polka dots mottled on the gray back; He sings and his cante, is like a snook that steals from his ancestors or like that of a stolen woman, but without ojana and without having to remove chilies from the lie, as Chiclanita told Pericón, both leaning on the balustrade of La Alameda, seeing how silver was not literature, while one tied and the other incarnated in the cross-eyed hook.
The cante of David is porous as the oyster stone and in each stratigraphic sediment it is possible to recognize from the echoes of Juan Villar, making thirds of the Mellizo and Paquirri in the soleá, to contemplate the Old Man of the Island invoking the “hospitalito y la camita” made “of the Melu. There is a certain scenic domain of Beni, which coexists with the poetry of Alfonso de Gaspar and “dies” with El Niño del Mentidero. But he is him: a little bit of everyone and a little bit of nobody. An artist who every morning washes his face with fresh water from the round pool and his polka dot handkerchief dries the drops, so that the release leaves the salt that will determine to a large extent his unmistakable DO (appellation of origin). Callers say that every morning, on the way to the marographer, they have seen him wandering. True. He does not look for Atlantis, as Falla looked for it in Sancti Petri, but the imprint of Telethusa and the Planet, which aligned like a star, withdraws the waters to discover footprints in the sand, who knows if of his brother’s steps of dances, the famous Luis Alonso.
(Español) El Junco
María Moreno was born in Cádiz in 1986. When she was eight years old, she began to train at the Professional Dance Conservatory of Cádiz, along with masters such as Javier Latorre, Rafaela Carrasco, Antonio Canales and Eva Yerbabuena among others.
It is in the show “Locos del tiempo” that he makes his debut with other Cádiz artists such as Pilar and Juan Ogalla in the Central Lechera de Cádiz theater.
In 2004 she joined the Eva Yerbabuena Company, with which she premiered the shows “A cuatro voces”, “Eva” and “5 mujeres 5″ and toured the most emblematic venues in the world.
With Eva Yerbabuena also participates in the premiere of the show “El huso de la memoria” at the Teatro de la Zarzuela in Madrid and, at the X Anniversary of the Company Eva la Yerbabuena, held at the Generalife Gardens of Granada, shares the stage with artists of the likes of Miguel Poveda, Marina Heredia and Arcángel. In the same scenario, he performs the season in the XI edition of the... +
...program ‘Lorca y Granada’, with the show “Federico como Lorca”.
He began his solo career in 2006, at the Bienal de Jóvenes Flamencos de Sevilla, held at the Jardines del Valle. It is also required at festivals such as Los Veranos del Corral (Granada), Festival “Larachí flamenca” (Seville), Fiesta de la Vendimia (Jerez de la Frontera) and Festival de la Fortuna (Madrid). He takes part in the XXXV International Flamenco Congress held in Cádiz and participates in the premiere of the show “Kalho Calo” under the artistic direction of Rafael Estévez, which premieres at the Festival de Jerez.
She collaborates as a guest artist in a cante recital of Arcángel, celebrated in Abu Dhabi (Arab Emirates) and with José Mercé in the Gran Teatro Falla de Cádiz. Participate in the extraordinary concert that celebrated the 150th anniversary of the Teatro Principal of Puerto Real (Cádiz) with the Manuel de Falla Orchestra and the singer David Palomar.
Along with Rafael Campallo he premieres the shows “Puente de Triana” and “Triana, the other shore”, with which he travels to Italy and Canada.
In November 2014, in the Sala Lechera de Cádiz, ‘Alas de Recuerdo’, a show that features the accompaniment to the singing of Enrique ‘El Extremeño’ and Juan José Amador, on the guitar of Joselito Acedo and the palmas of Roberto Jaén.
The show has been presented at the Flamenco Thursdays of Cajasol and, in 2017 at the Festival de Jerez, which gives it the ‘Revelation Artist Award 2017′.
In June 2017, María Moreno traveled to New Mexico to present ‘Alas de recuerdo’ at the Albuquerque Flamenco Festival and to Madrid, where she performed at the Suma Flamenca program.
María Moreno also has the First National Award of Bajo de Guía, held in Sanlúcar de Barrameda (Cádiz) and the First National Dance Award for Alegrías held by the Peña la Perla de Cádiz.
Content available only in Spanish.
Content available only in Spanish.
Born in Seville, 1957. At the age of 13 he started playing the guitar. His teacher, Andrés Vázquez, guitarist of the Escuela de Niño Ricardo, enjoyed him for a few months due to his incorporation into a printing press. However, he played with his friends in a great diversity of musical genres, such as Jimi Hendrix, Deep Purple, among others, since in his family origins there was no reference to flamenco.
He took advantage every time he could in his spare time to play the guitar. He has always liked playing what Andrés Vázquez taught him about Niño Ricardo since he was an artist who liked him a lot.
In 1982, he founded a guitar academy in his own home. Three years later he starts to be part of Mario Maya’s company. Rafael feels a total pride in “going from teaching” to meeting one of the greatest.
The first time he got on stage was with this teacher in Alcalá de Henares and later he spent some time working at the Manolo Marín... +
...Academy. He has been at the Tablao Flamenco “Los Gallos” for 18 years.
At the Bienal de Flamenco 2008 he received the Giraldillo for accompaniment and the “Mario Maya” award from the critics.
During all these years, he has had the pleasure of playing with some of the greats of dance and guitar singing, as well as other musicians and friends from the world of jazz and rock.
In 2017, at the request of the Festival de Nimes, he created his first show “Guitar Mine”, in which he was surrounded by seven great artists of the dance of cante and compass, among whom, for his pride and joy, he was for the first time daughter Isa Rodríguez on percussion.
In 2018 and this time at the request of the Bienal de Sevilla he creates his second show “Dejándome llevar” focused only on the guitar where he accompanies sax, violin, bass and back to the drums with his daughter Isa.
Juan José Villar