The troupe ‘Plastilina’ and the quartet ‘This quartet is divine’ stand out during the first preliminary of the singing contest
Finally came the day. The Malaga Carnival has raised the curtain on the Official Singing Group Contest this Friday with a vibrant night. The eight groups that participated in the first preliminary of the contest showed desire and anger. It was essentially a session of comparsas, mainly due to the long-awaited return of the group from Alhaurín el Grande three years later. During the session the quartet also dazzled. Long live the quartet!
Children’s murga ‘La banda del patio’ *****
The thugs of the patio premiere the tables of the ESAD theater
The children of the children’s murga have been in charge of opening the tables of the theater and heating up the atmosphere at ESAD. The group, made up of 45 components, introduces itself as the schoolyard band and takes the opportunity to explain what its laws are: homework outside, that manual labor be easy, no more controls, that Natural Sciences are not in English and that a carnival elective is given. “Even though they see us small, we are dodgy and dangerous,” they defend. In their lyrics they compliment the town crier, Paqui Prieto, and recount a trip they made to the wax museum where they met the mayor.
Comparsa ‘Plastilina’ ****
Alhaurín, the most anticipated return
The contest itself opens with great power and great color. On stage, the comparsa from Alhaurín el Grande, one of the most anticipated returns of the contest, since they had not participated since 2018, when they won first prize with ‘La travesía’. On this occasion they present themselves as the Plastilina couplet workshop, with which they intend to dye the gray of life with color. They start by explaining the reasons for their return: “I’m coming back because I don’t want to live at the crossroads.” Their pasodobles are powerful and in them they defend the carnival party as that of an irreverent workshop that tells people the truth face to face and they remember the influencer Elena Huelva, who recently died of cancer, and they ask for more means to investigate the illness.
Comparsa ‘In the name of Moma’ ***
The creators of the party claim a revolution of couplets
Group made up mostly of women who present themselves as Moma, the true creator of the carnival despite the fact that Momo has stolen the limelight from them. They justify that their presence is more important than ever because a revolution was necessary to achieve a freer party and of the people, “for a true carnival.” In their pasodobles they wonder what would happen if Malaga wins the Universal Exposition in 2027, although to talk about the two faces of the city, the problems of the working class to find housing and the death of neighborhoods. They also really liked the second pasodoble dedicated to the town crier. “40 years have passed for a carnival woman to be the crier of my land,” they said.
Murga ‘The disenchanted’ ***
Some prince charmings come to less open the contest in the modality
Original idea of these murguistas who appear on stage as prince charming come down. They are the boyfriends of the Disney princesses, but they are not exultant but rather disappointed, fat and with three-day beards because the movie did not turn out quite well. Their first paso doble, in which they say they have a neighborhood soul, is widely applauded because they defend their native San Andrés. The cuplés are to lament how little they work in the banks and to tell the story of a spinster cousin they have who does not see well, although in the end it is discovered that what she really does not see is a man who gives her affection . In the potpourri, very attached to the guy, they insist on her misfortune. It was perhaps the funniest part of the whole performance.
Quartet ‘This quartet is divine’ ****
Divinity in the form of a quartet
Noah, Moses and Samson talk about divinity and make the spectators laugh with their divine occurrences “by the grace of God.” During the parody they talk about the creation of Noah’s Ark and the 40 years that Moses spent in the desert, where at least there was no blue zone. The members continue talking about the new carnival, where everyone now gets along and instead of the night of long knives there will be a night of long hugs. The couplets are to talk about the number of cars they have and about an unfortunate relationship with their partner. In the free theme they perform a parody of a quartered romancero, an extinct modality in the contest.
Comparsa ‘Los castizos’ **
The flamencos of Vélez come across a frozen theater
Very flamenco troupe whose members appear from Vélez-Málaga as authentic gypsies who in February put on make-up on their cheeks to hide it. In the presentation they criticize the party, “which boasts of being the owner of the truth but lacks honor, shame and dignity.” Their pasodobles are to vindicate flamenco -they are convinced that without the purest flamenco there would be no carnival- and to remember our ancestors, who are leaving this mortal land and to whom we will not be able to return everything they gave us.
Murga ‘Between cotton’ ***
Cotton growers exploit Malaga residents for carnival
The murguistas are African businessmen who take advantage of the crisis in Europe to hire Spanish citizens to pick their cotton. In their pasodobles they presume to master the malaguita accent and to tell the reasons that have led them to set up the company by referring to work permits. In the cuplés they remember what the Three Kings Parade in Malaga was like, with a real black King Baltasar, and to reveal the secret why his plants turn out so well.
Parade ‘The Captive’ ****
Captives of the city and their customs but with great voices and lyrics
The comparsistas who close the first session of preliminaries are from Malaga captives of their city and their customs. With great fierceness they speak of the importance of faith from a roof of La Trinidad. For this they ask the fans to only believe in the people, in the penitents, and not in the rulers and those who lie. His pasodobles are to put the spotlight on depression, a disease that holds many people captive, and to defend a town carnival that is not sold to gangsters. The components use a very striking type, with feather-shaped powers, vests with polka dots in reference to the fair, colored ties for the verdiales and embroidery with references to Holy Week.
A colorful carnival workshop and a dignified quartet begin the battle of carnival songs