Song with gipsy verses, composed by four verses with six syllables each and a chorus. It's also a dance that is part of 'las zambras' gipsy. It is one of the style which is the more kept by Gipsies. There is one 'baile' linked with 'las alboreás', rarely seen, that Hipólito Rossy describes as... "simple... done in a reduced space... without taconeo... little short steps... arms that do not raise more than the head... a danse of arms and superior torso...". He says it is a colective dance that is very important during the wedding reception during the called 'adoración de la novia'.
Nowadays, most Gipsies have adopted the Catolic nuptials ceremony and the 'alboreás' have resisted the 'heretic' fact of being recorded. Furthermore, the 'alboreás' have been represented in the movie 'La historia de los Tarantos'. The interpretations previously quoted of Maria la Canastera and Rafael Romero (with the player Perico el del Lunar). The reason of this Gipsy fervour is because this melody comes from their nuptials rites and because the lyrics are refering to the fiancée virginity. This melody is usually adapted to the 'soleá por bulería' time. The 'alboreá' predominates especially in Sevilla and Cádiz but is also extended in all the Andalusia and in some parts of Extremadura too.
Antonio Fernandez 'Fosforito' is another singer who contributed to make the 'alboreá' more popular thanks to his recorded interpretation. Nowadays, the 'alboreá' is usually represented on the stages as in movies, especially in the versions of 'Bodas de sangre' of Federico García Lorca.
Coming from: 'palos' common to all the provinces.