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After the ballad, a buleria followed, interpretated in a traditional way, and accompanied by four voices and that thepublic rewarded at the end with the first "olés" of the night, and after that, he played a solea during which he stopedto tune the instrument, what didn't prevent the publir to clap and to whistle for him. A serie of tangos and bulerias followed, in which the guitarist accompanied his singers, who interpreted some bullfighting compositions, and tangos,homaged to Camarón de la Isla--" José, Camarón, more i listen to you, better you sing"-- because the guitarist explained yesterday that he owes everything to the legendary singer and that Camaron goes on guiding him "on the right way" The most melodic themes were alternated with the most rhythmical. After one hour of actuation, "Tomatito" interpreted a rumba that caused the largest ovation until this moment, after his performance at the electric bass and percussionists,Luqui Losada and Moises Santiago. The public claped with enthusiasm, and did as if the guitarist was a bullfighter, saying "olé", and someone in the public said "olé tus cojones, Tomate", while the ushers of the Maestranza, the lyric theatre the most important of the South of Spain. "Tomatito" kept the best for the end, the danse of Jose Maya, very applauded as well, and the singers interpreted several palos while "Tomatito" actuated as accompanist, and the culmination was the presentation of his son José,who played 2 themes, one of them in solo, the "Rondeña" of Paco de Lucía. When the young guitarist of twelve years concluded, one of the singers announced "And now, the grandson!" and the Tomatito grandson, a child of five years old delighted the public of Seville with his flamenco dance. |
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Roberto