He wanted Poetic justice “Antonio Fernandez Diaz”phosphorite‘ It opens he lovable With him Singing key When the National Flamenco Competition of Flamenco Arts of Cordoba, which has been running for nearly 70 years, is looking for new artists in this maximum selection. … Promising youth who look in the mirror of that boy from Puente Genil who broke the mold on the big stage in 1956. Or that the whole world celebrates the universality of the unique emotional, cultural and artistic heritage under the seal of UNESCO.
While the world of flamenco art dissolves Judicial praise With Phosphorito – the coexistence of its protagonists is a controversial and highly subjective matter – memories flow between Great worksand the learning learned, which has been described as “encyclopedic,” and the little details that made the fifth brother out of eight great brothers, who, within a few years, were climbing the sales benches, cinemas, or livestock fairs of the Punta district. Following in the footsteps of his grandfather, his great uncle and even the quejíos his father also provided, a man of a thousand battles. There was no other solution It is possible that Dictated by blood And what a humble person childhood From Sid Pontano I learned and listened With those bright, awake eyes.
He is one of the five laureates of the highest award in this art, which is called the “Nobel Flamenco” or “Nobel”. Singing key‘. A prize In which he was born 1868 It has since been dominated by Tomás Al Nitre (1868), Manuel Vallejo (1926), Antonio Mairena (1962), Camaron de la Isla (2000), and Fosforito (2005). Five missionaries Who is this The highest expression Sure, it could (or should) be someone else, but it sparked a consensus that only indisputable qualities provide it: truth and purity, a highly personal style and an excellent knowledge of the most cultural characteristic of our identity.
They were The sixties and seventies Of the last century those who They were legendary to Antonio Fernandez Diaz. Flamenco, as contemporaries say, 360 degrees: he composed his lyrics, sang and played the guitar. The importance of his creative contributions and his contribution to revitalizing outdated styles made a difference his way. His musical works serve as an essential guide to popular names, songs, and poetry for any scholar or novice of the subject. From Paco de Lucía to Juan Carmona “Habichuela” or Tomat de Cordoba himself. Solaires, Joys, Segurrias or Levante songsthe book’s frontispiece in a temple full of twists and turns of ability in any style. His closeness and generosity – both in drums and in mentorship – is an even more valuable gift that his students and colleagues are accumulating these days. I couldn’t stop going to festivals Even though he had 90 on his licence. Until this summer in Le Ferro (Murcia). The humility of genius is reflected today in another word that other flamenco “monsters” repeat incessantly: friend. “Early in the morning on the bridge / Let us see if the wind will dare / To blow out the candles / That I light in San Rafael.”
Congrats! He is Glory be to Him.
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