In HEREDIA, Miguel Ángel Heredia turns a biographical fact into a stage decision. In the dossier, he describes having spent his life dancing to cante in public while singing only “in intimacy”; the work begins from that contrast and then tests what it means to cross it—leaving fear behind and facing an audience with the voice that has accompanied him since childhood. 

The evening is shaped as a recital rather than a plot-driven narrative. Much of the cante is offered from a seated position—an image of concentration and exposure—before the performance periodically rises into baile, as if the body must answer what the voice has opened. The repertoire moves across a broad map of forms (including soleá por bulerías, bamberas, caña y polo, cantes de levante, cantiñas, seguiriyas, tangos/rumbas, and bulerías), using contrasts of weight, line, and tempo to register shifts in mood without turning the work into autobiography. 

Known for the Jerez school’s close relationship between baile and cante, Heredia approaches the recital as a dialogue between disciplines rather than a simple “switch” of roles. The audience hears the transition as it happens: the sung phrase becomes rhythmic ground; the danced response tests what the voice has stated; then the recital returns to song, altered by what the body has done.

Guitarist Francisco Vinuesa and percussionist Javier Teruel accompany Heredia. A trio of women—Salomé Ramírez, Anabel Rivera, and María Reyes—provides coro and palmas, enlarging the performance from solitary confession into shared pulse and response. Technical design is kept clean and concert-forward (sound: Ángel Olalla; lighting: Antonio Valiente), so that the central action remains audible and legible: a bailaor choosing to be heard as a cantaor and allowing both disciplines to coexist without hierarchy.