He came out wearing an imperial smile, as one guessed, for just a moment, the poignant gesture. He was there for that and much more, in front of this audience that, more than applauding him, was telling him that he was there with her, by his side, close together, far from the storm and foul language. No one will come to power with Isabel Pantoja, the artist who laughs at the dead and watches over him, who eats theater and life, and who turned on Saturday, at Palau Sant Jordi, in a conscientious recitation of thanks. “I pray to God to complete those 50 years on stage, for those who are here and those who are no longer there, and those who are there and still see and hear me,” he said.
The vocal powerhouse has already hinted at the opening theme, Embrujà por tu querer, one such track from his first phase, by Solano y León, which he will take up with new arrangements (a devastating rhythmic reconfiguration), on his announced new album that he said will be released “around January.” With a rare degree of accuracy. “get out now!” Sant Jordi, occupying two-thirds of the space (the advanced stage), of which just over three-quarters are occupied. On stage, the singer appeared in her collection of sparkling dresses, accompanied by a large orchestra (about seventy musicians) and a choir (ten others), directed by Carlos Checa.
With first and last name
There we had Isabel Pantoja, displaying her name and surname, in very large letters, as a background so no one would get confused, and admitting that she was affected by the time travel that happened. “I'm so excited, I'm sorry,” she launches this opening verse based on songs from her youth, such as the first song she recorded, Tené compasión de mí, as well as Fue por tu voz and Esta pena mí. Some of the pieces were turned into sketches, but everything flowed into them. “If you start singing the whole songs we'll be there until December 30th…next year!”
Her catalog allowed her a variety of palos music, and through Sevillana and Exotis (the graceful senoretto and, following a text in chronological order, she went into the impetuous Nada, the music of Paco Cepero, and the dazzling, melodious music). The edges of Marinero de Lucis' suffering. “A record is not a record, it is my life.” He encouraged himself there not only in his vocal modulations, moving the microphone away and playing with distance, also in his grimace and gesture. , giving wings to every rhyme Even though when the audience stood it was for Así fue, by Juan Gabriel, long and winding.
Isabel Pantoja usually gives lavish concerts, and this career anniversary turned out to be a great one, with more than 60 songs performed or adapted. A festival for the connoisseur of his work, who can follow its development disc by disc, this time avoiding thematic blogs, through the song with midnight, the wink in Miami (90s phase), and from there, to the bolero for voice and piano (Dos Gardenias and Perfidia) and, of course, the classical passage For Yo soy esa, La zarzamora, and a little Ojos verdes. And the hymn is from Los peces en el río. In addition to some surprises presented by the new album, Miamigo and Quisiera decir ¡no!, tracks that Rocío Jurado once made, in which a tear is seen rolling down his cheek.
A sensitive substance that is powerfully evoked, increasing the pleasure of the repertoire for up to three hours. “Are you okay? Prove it!”, he asked with a commanding air. The indomitable Pantoja, who the world often forgets belongs to a rare breed of artists, with all the consequences.
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