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Ismael de la Rosa 'El Bola', a Triana sweet at Corral del Carbon

On Wednesday night, in the final stretch at the Granada Music and Dance Festival we went to Corral del carbon to cover the FEX of more democratic Extension.

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Ismael de la Rosa 'El Bola', a Triana sweet at Corral del Carbon

On Wednesday night, in the final stretch at the Granada Music and Dance Festival we went to Corral del carbon to cover the FEX of more democratic Extension. This contest offers us 'The emerging generations' of flamenco, as well as the Centenary of Cante Jondo Contest 1922. It was centered around the singer from Triana Ismael De la Rosa Gonzalez 'el Bola, who belonged to the same family tree as Esperanza Fernandez and Curro Fernandez and Curro Fernandez and was his uncle.

His voice is clear and warm, and his flamenco is rich and full of memories and nuances. A good gentleman cannot be without an efficient squire. At his side, Yerai Cortes, who is from Alicante, plays the guitar. He gives him space without being too noticeable, and with a unique musicality. They are both young, but they have a long history, which they showed on the Coal boards in a delivery that was risk-taking, commitment, and understanding, despite being only 20 years old. They recorded their first album, "En Direct", together in 2018. They are all guitar and singing; they don't need any other.

Ismael is trained to sing to the dance (La Chana. Guito. Farruquito. Lola Greco. Rocio Molina. Rocio Molina. Among others). He has the enviable compass to imbue flamenco with poetry. "El Bola" began his recital por bamberas with a concession to the fandango, which he then finishes. The seguidillas broke the silence, giving it a romantic air at the start. Finally, the guitar moves towards the zorongo. The entire concert was accompanied by magnificent silences. A cante from Jerez was heard in the cantinas. A granaina, who was also following him, abandoned himself to go for rondenas and desserts.

He maintained the essence of his Sevillian neighborhood in the solea, initially apola, and ended up charmingly mumbling. Mariana started the tientos without changing the rhythm.

The recital concluded with bulerias. A cappella and a pao seco were performed unhurriedly. Bulerias to suit all tastes; the flagship bulerias.

A great recital that, although it was short in time, was very impressive in its execution. A rapturous audience gave a farewell to the cantaor, who was able to give much to be talked about.

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