The 90s were the great explosion: nuevo flamenco, the crossovers with other styles, the arrival on the charts. That’s the decade we come from, and anyone wanting to understand the present would do well to first revisit the flamenco singers of the 90s<\/a>. Because what’s happening now is, to a large extent, their legacy.<\/p>\n What sets the singers of the 21st century apart is balance. They drink from the purest sources \u2014 la Ni\u00f1a de los Peines, Camar\u00f3n, Morente \u2014 but they’re not afraid of big theatres, unexpected collaborations or taking cante to places it never used to reach. Estrella Morente and Marina Heredia, who were already emerging in the late 90s, remain in top form and have acted as a bridge between generations.<\/p>\n If one name sums up today’s young cante, it’s his. Born in Toledo but of Gitano roots and a deeply jondo sound, Israel Fern\u00e1ndez has achieved something difficult: earning the respect of the most orthodox critics while filling venues with young audiences. His album Amor<\/em>, alongside guitarist Diego del Morao, was one of those works that brings everyone into agreement. A broken voice, old and new at once.<\/p>\n From Huelva, Arc\u00e1ngel is one of the most versatile voices around. He masters classic cante like few others, but he has also ventured into Baroque music, into orchestras and into projects that widen flamenco’s borders without betraying it. His fandango de Huelva is a benchmark. When he sings, you can hear the schooling and you can hear the intelligence.<\/p>\nIsrael Fern\u00e1ndez<\/strong><\/h2>\n
Arc\u00e1ngel<\/strong><\/h2>\n
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