Flamenco Live Music and Dancing Presentations

Accompanied by his group, guitarist Reynier Mariño performed at Avellaneda hall of the National Theater, where he presented Regreso his latest record



2016-08-23 | 12:56:49 EST

The return of something valuable is twice as pleasant, that’s why lovers of Andalusian-Spanish music welcome the concert by one of his more outstanding exponents: Reynier Mariño, who alongside his musicians and various guests performed at the Avellaneda hall of the National Theater this weekend (split on Sunday at Cienfuegos’ Terry Coliseum) in a concert whose name matched the reason behind the celebration: Regreso (Return), title of his latest CD under the Bis Music record label.

For over an hour and a half  this show revealed the non-orthodox conception which has always characterized his guest regarding the flamenco rhythm, even though more than once the pure rhythm sounds, portraying its essence, the blending with other sounds rooted in the jazz is perceived, alongside pop-rock and other universal contemporary sonorities.

Mariño assumes the ancient genre with a postmodern sense. A proof of this is the performance of singer Liz de la Vega, which can be defined as a balladeer singing Spanish songs like those made popular by Rocío Jurado (Se nos rompió el amor, Lo siento mi amor...) as well as other international and Cuban including some from the guitarist himself, but certainly, she is a singer of exceptional register.

The guests brought freshness and variety to the concert, from the young Chinese Tieng Chong of nice voice, although pointing to a quite conventional pop to another welcomed reappearance Miriela Mijares (Aceituna sin hueso) in a fashion as authorial as vocal with two new songs where the Cuban and the Spanish styles are fused together in unique perspective.

The guest has a virtuous musical and dancing crew: Leandro Cobas , in percussion, dancers Olivia and Eric, flutist Mariam Rivera, bassist Adén Rodríguez, they all directed by Roberto Rosa and Mariño.

However, the presentation was short of rhythm and fluency, something to be improved in the national tour from next September until next year; then Mariño who is also announcer and commentator during the concerts, should be more accurate in his speeches, which are often too reiterative and ruined with jokes of dubious taste.


Despite all these details which can be improved, all the flamenco lovers welcome this Regreso by Mariño and his group, as well as Aceituna sin hueso with the contribution of its leading singer songwriter and the rest of the musicians and technicians, who turn every stage into an immense platform where the familiar Spanish, Cuban and universal rhythm become a joyful reality among us.

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