Dance: Antonio Fernández Montoya El Farru, Karime Amaya, Paloma Fantova, Sara Barrero

Sing: Antonio Campos “Bocaillo”, Luis El Granaíno, Antonio Fernández

Playing with guitars: David Cerreduela, Tuto

Artistic Direction: Luis P. Adame

*Some artist could change by force majeure



Primitive songs Romance, Toná, Debla and Martinete, Seguiriyas, Bulerías and Taranto of Carmen, Crying for Carmen Amaya by León and Solano Alegrías of Carmen


Time for memories (Carmen and Sabicas) Garrotín and Jaleos Canasteros


Fandangos, Granainas, Javeras, Verdiales, Naturales... and Huelva, Tangos from Triana, Graná, Málaga and Extremadura...


Three profiles of a woman as a tribute Alegrías (all the artists together)

Tablao Flamenco Cordobes is a historical place, an institution, on the Ramblas of Barcelona, ​​where, for 47 years, all the flamenco stars continue to pass. From the very day of its foundation has been dedicated to promote, preserve and preserve the most authentic and quality flamenco. In addition, he has taken some of the most important productions from his stage of Las Ramblas to the theaters and stages of the world (Paris, Madrid, Seville, Poland, London ...), also becoming active promoter.

In 2014 he also landed in the Palau de la Música Catalana, where he presents some of his most important productions under the "Grand Flamenco Festival of Barcelona" brand, always featuring the best artists of the moment: Farruquito, Jesús Carmona, Karime Amaya, José Maya, La Tana and Belén López, among others.

With the show "Carmen, Carmen, Carmen", Tablao Flamenco Cordobes de Barcelona pays homage to one of the most disruptive personalities of flamenco dance, Carmen Amaya.

This gypsy woman, born in the immigrant and gypsy neighborhood of Somorrostro in Barcelona, ​​daughter of a bailaora and a guitarist ('la Faraona' and 'el Chino'), directed her professional tour from the taverns of the maritime bars of the Ciudad Condal The White House of President Roosevelt.

Iconoclasta, self-taught, cantaora, breaker of all the molds ... her dance is, as we say, a metaphor of rebellion, with an electrifying rhythm and ethics with which she was ahead of her time in all orders, including her wardrobe , Being one of the first bailaoras to use pants.

Carmen Amaya is an invisible model from an academic point of view and does not fit into a single model, so our show offers three versions of her varied aesthetic profile and even a version of her incursions as a singer.

Versions by prestigious and young bailaoras who drink in that spring of history: Karime Amaya (niece-granddaughter of Carmen Amaya), Susana Casas and Sara Barrero.