Almario

Almario

Inside us all, there are both remnants of our ancestors as well as the immediate reality, reflections of the age in which we live, invading our inner selves, in a continuous confrontation between old and new. That’s human, and that’s how we grow into the person defining and differentiating us from others.

Inside us all, there are both remnants of our ancestors as well as the immediate reality, reflections of the age in which we live, invading our inner selves, in a continuous confrontation between old and new. That’s human, and that’s how we grow into the person defining and differentiating us from others.

The name of that private area, playing host to battles, that inner shelter, that place, that house with no walls, is “Almario”.

Let’s take a look! We can see a moment, a very rich moment portraying an artist at her most creative, at her early best, in which past and present already combine to form the future.

The story is set in Rocío’s dressing room. An island floating between the sky and the sea. There, tradition and innovation are blended with the confidence of he who doesn’t feel observed, void of the responsibility of providing results. In that “etat d’esprit”, art and its conflicts don’t need to be concealed in tinsel and behind masks, and make up a rich and multifarious reality, at once personal and universal.

Let’s take a look!

Miguel Serrano

 

PROGRAM

 

Tanguillos

Taranto (Homage to Fernanda Romero)

Seguirilla

Garrotín Feo

Bambera

Mentiras (Lies)

Improvisation

 

ARTISTIC & TECHNICAL INFORMATION

 

“ALMARIO”

 

ARTISTIC INFORMATION

 

DANCE

Rocío Molina

 

VOICE

José Valencia

Antonio Campos

 

GUITAR

Francisco Cruz

Juan Requena

 

PERCUSSION

Sergio Martínez

 

PALMAS (Hand clapping)

Guadalupe Torres

Popi

 

TECHNICAL INFORMATION

 

CHOREOGRAPHY

Rocío Molina

 

LIGHTING DESIGN

Manu Madueño

 

SOUND

Ángel Olalla

 

COSTUMES

Taller flamencura, José León, Cuero cc3

 

STAGE MANAGEMENT

Marta Yáñez

 

STAGE DIRECTION

Miguel Serrano

 

PRODUCTION

Rocío Molina

 

ASSISTANT PRODUCER

Laura Rozalén

 

DISTRIBUTION

Gachi Pisani

 

TECHNICAL REQUIREMENTS

 

TECHNICAL RIDER

 

PA SYSTEM

 

PA CONTROL

 

• Midas Mixing Console (XL4, XL3, Heritage…), Soundcraft (Five, Europa, MH4), Yamaha (PM 5000, 4000, 3500, PM1D) Amek recall.
• 2 graphic EQ Klark Teknik DN 360, BSS FCS 960.
• 10 Compressors DBX 160 or 2 XTA C2.
• 1 Double compressor BSS DPR 404 or similar (DBX, Klark Teknik, Drawmer).
• 1 Reverb TC M 3000.
• 2 Reverb Lexicon PCM 70 or PCM 80.
• CD
• Intercom, current stabiliser and desk lamps for the console and racks.

 

SPEAKERS

 

• Potency in accordance with the seating capacity of the venue, capable of supplying 110 db with a response from 20 to 20,000 Hz in uniform frequency in the whole audience area.
• All additional systems (frontfill, delays) should be connected to the console by a matrix output and have their own graphic equaliser and delay.
• Electrovoice X-array, Meyer, L-acoustic, D&B, EAW, Turbosound, Nexo, Clari BROS, Apogee.

 

MONITOR SYSTEM

 

MONITOR CONTROL

 

• Midas Mixing Console (XL 3, XL 250), Soundcraft (SM16), Yamaha (PM 3500).
• 5 Double graphic EQ Klark Teknik DN 360, BSS FCS 960.
• 4 Compressors DBX or BSS.
• 2 Reverb Yamaha SPX 990 or TC M 2000.
• The console and racks should be lit.

 

SPEAKERS

 

• 4 Shure PSM 600 systems with Shure E-2 split headphones and active antennas.
• 6 Sidefill Meyer (UPA 1C), Nexo (PS 15) on tripods or similar.
• 4 Monitors Nexo PS-10 or similar with cables long enough to be positioned behind the stage.

 

NOTE

 

• The PA control should be in the stalls, centred with respect to the stage, at the same height as the audience, never under the balconies.
• The microphone stands should be black and the size described in the list of channels.
• Any changes to the material described in this rider should be directed to:

 

Ángel Olalla

PA Technician

Telf. + 34 646492110

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