Rocío Márquez (Huelva, 1985) was one of the many artists who were hard hit by the pandemic. The Andalusian singer was scheduled to perform on Saturday, March 14 last year at the Auditorium of the Ateneu de Banyoles, as part of the tour to present the album Visto en jueves (Universal Music, 2019). However, the house confinement decreed that weekend nullified that concert. Almost a year later, the singer, considered one of the most talented in the contemporary flamenco scene, will finally be able to take to the stage in the capital of Pla de l’Estany this evening.
This is not the first time that Márquez has stepped on the city of L’Estany. In 2015, he held an artistic residency, which he twice visited in the Auditori de l’Ateneu. The singer has very fond memories of that stay. “It meant being able to relate to the space and its people, learn, develop the proposals we brought,” he explains. In his opinion, being able to do a residency “allows you to reach other layers than when you go to a place, sing, and come back.” From the experience lived during that stay, Márquez says that returning to Banyoles is always “special”.
A research paper
Seen on Thursday, the fifth work published by Rocío Márquez, is an album of versions born from the search for old songbooks in the second-hand market on Calle Feria in Seville, popularly known as “the one on Thursdays”. “Experimentation and research are a pathway and knowledge never takes place. In recent years, flamenco has made great strides, such as becoming part of the academic world, such as conservatories, universities … and this is reflected in the proposal, ”explains Márquez, who throughout of her career has stood out as one of the great researchers of a genre that she considers “revolutionary” and has studied in all its dimensions, following in the footsteps of references such as the now defunct Camarón de la Isla, Enrique Morente and Paco de Lucía,
Accompanied by guitarist Juan Antonio Suárez Canito, the singer from Huelva will present this evening what she defines as “an exercise in collective memory”. A work formed by fourteen subjects of diverse origin and sorts like bulería, tango or fandango, that interprets with a very personal filter.