Sole Giménez closes the XXII edition of the Murcia Three Cultures International Festival with an elegant journey through memory
Between tribute and justification. The delicate memory and the slap on the table of what remains behind appearances. The female faces that live behind the songs and the need to insist on poetic justice. In the first of her many interactions with the audience, Sole Giménez pointed out the exact address, as well as the secondary roads picked up on the route, along which her concert would go in a beautiful Plaza del Cardenal Belluga: «Do you want to listen to your women’s music? It’s an effort, but it’s worth it, you’ll see.”
The answer to the first question received a resounding yes from many in attendance, a great turnout which should be emphasized given that an entire Champions League final was played in that same time slot, while the alleged effort that The Artist with roots in Yecla pointed out insisted that in the end it was more of a pleasure than anything that resembled a fight. Because above all, the show with which Sole Giménez ended the XXII edition of the Murcia Tres Culturas International Festival was characterized by casual fluidity, constant complicity, joint learning and the reunion with some of the great songs that are part of the musical memory of several generations.
The point they all have in common, we return to the beginning, we discover that they are all songs composed by female artists as different and essential as Mari Trini, Natalia Lafourcade, Eladia Blázquez, Isolina Carrillo or Giménez herself who some of her offerings rightly celebrated as ‘My Little Treasure’, emotionally dedicated to the victims of the recent massacre at a Texas elementary school; the RVS ‘How have we changed’; or ‘La noche’ whose melodic frame is on the same level as the poem by Gabriela Mistral that it sets to music.
And it was precisely this woman from Havana who was in charge of starting a concert in which the artist again showed her more than proven talent for interpretation as she danced delicately between different genres and styles, each bringing her signature hallmark of jazz essence, an element differentiator with which he achieved his great successes at the head of Presuntos Implicados. A special touch that completely intoxicated some performances of authentic height such as ‘Amores’, one of the most beautiful songs of the aforementioned Mari Trini; ‘Your letters are a wine’, a great poem by Miguel Hernández turned into pure heartbreak by the music composed by the artist; or an ‘Alma mía’ by María Grever that fell apart in the hands of the early morning prologue.
But once we have chosen the best moments of the night, it is inevitable that we will remember Eladia Blázquez’s fiery interpretation of that great tango, entitled ‘El corazón al sur’; the eternal sweetness of ‘Fallen’; the squandering of folklore at its maximum with Chabuca Granda’s ‘La flor de la canela’; or ‘Dos gardenias’, an absolute classic composed by the Cuban pianist Isolina Carrillo, who acquired the shapes, movements and winks of the seduction of smoke, moon and night.
Finally, Cecilia’s excellent ‘Un ramito devioletas’ was the instrumental highlight of the evening thanks to a surprising revision in the key of salsa with solos by Borja Montenegro and Iván Cebrián on guitar, Kiki Ferrer on drums and a particularly inspired Yelsy Heredia on double bass, a generous and inspired band who provided excellent accompaniment to an artist who gave Murcia Tres Culturas a stunning show see you soon dressed in elegance. And in a feminine key.
Source: La Verdad
I’m Wayne Wickman, a professional journalist and author for Today Times Live. My specialty is covering global news and current events, offering readers a unique perspective on the world’s most pressing issues. I’m passionate about storytelling and helping people stay informed on the goings-on of our planet.
