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We’re open from Monday – Friday 10h-13:30h / 17:00-20:00h and Saturdays 10h-13:30h (GMT + 1).
In 2022, we will be closed for holidays the 1st and 6th January, 14th, 15th and 16th April, 2nd and 16th May, 25th July, 12th October, 16th August, 1st and 9th November, 6th, 8th , 9th and 26th December.
Our shop is located in Calle Campomanes nº 4, Madrid 28013 España (Ópera Metro Station) - Help |
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- All Flamenco
- Bracelets
- Braces and Belts
- Breeches and Tassels
- Brooches
- Bull-fight and Spanish Flag Handbags
- Bullfighter Outfits
- Campero Boots Valverde del Camino
- Costumes and Accessories
- Customized Products
- Fabrics per Metre
- Flamenca Blouses
- Flamenco Costumes for kids
- Flamenco dance Tops and Bodies
- Flamenco Dolls
- Flamenco Face Masks
- Flamenco Guitars
- Flamenco percussion boxes and canes
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(+34) 91 542 72 51.
We’re open from Monday – Friday 10h-13:30h / 17:00-20:00h and Saturdays 10h-13:30h (GMT + 1).
In 2022, we will be closed for holidays the 1st and 6th January, 14th, 15th and 16th April, 2nd and 16th May, 25th July, 12th October, 16th August, 1st and 9th November, 6th, 8th , 9th and 26th December.
Our shop is located in Calle Campomanes nº 4, Madrid 28013 España (Ópera Metro Station)
Castillo de arena - Camaron de la Isla
Once again we find bulerías without claps like in the 1971 album but now Paco de Lucía doubles up on falsettos and some answers. With Ramón de Algeciras in charge of the second guitar; three guitars sporadically surface.
In the bulerías 'Como castillo de arena' some endings surprise by falling out of the common twelveth's timing. The guitars seem to allow Camarón end with his cante, although they last to long at times. Its way of accentuating and holding back builds up a certain tension; we wait for the climax after twelveth's cicles only for it to knock in right after the weait.
The tientos also surprise the guitar accompanyment with a certain inclination toward tango rhythms and Camarón's resting voice. There is also a tension here between a guitar seeking speed and a voice looking to drag. In the end, tango comes out triumphant.
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While it consists of a summary of the innovations we have heard until today, this disc forecasts new changes.
Once again we find bulerías without claps like in the 1971 album but now Paco de Lucía doubles up on falsettos and some answers. With Ramón de Algeciras in charge of the second guitar; three guitars sporadically surface.
In the bulerías 'Como castillo de arena' some endings surprise by falling out of the common twelveth's timing. The guitars seem to allow Camarón end with his cante, although they last to long at times. Its way of accentuating and holding back builds up a certain tension; we wait for the climax after twelveth's cicles only for it to knock in right after the weait.
The tientos also surprise the guitar accompanyment with a certain inclination toward tango rhythms and Camarón's resting voice. There is also a tension here between a guitar seeking speed and a voice looking to drag. In the end, tango comes out triumphant.SongsDisco 1
1. Samara (Bulerías)
2. Donde se divisa el mar (Taranto)
3. Y mira que mira y mira (Tangos)
4. De tus ojos soy cautivo (Soleá)
5. Dos estrellas relucientes/De la alegre primavera (Fandangos)
6. Como castillo de arena (Bulerías)
7. Vivo pa quererte (Tientos)
8. De lo que yo soy pa tí/Por culpa de tu cariño (Fandangos)
9. Que he dejao de quererte (Granaína)
10.Por cositas malas (Seguiriyas)
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