{"id":387704,"date":"2023-07-20T04:27:03","date_gmt":"2023-07-20T02:27:03","guid":{"rendered":"http:\/\/new.allflamenco.net\/who-is-maria-terremoto\/"},"modified":"2026-09-10T09:00:15","modified_gmt":"2026-09-10T07:00:15","slug":"who-is-maria-terremoto","status":"publish","type":"post","link":"https:\/\/allflamenco.net\/en\/blog\/who-is-maria-terremoto\/","title":{"rendered":"Mar\u00eda Terremoto: Who She Is, Where She Is From and Why She Sings Like That"},"content":{"rendered":"

The night that really counts in the biography of Mar\u00eda Terremoto<\/strong> is not the night of the prize or of the first album. It is an ordinary night in 2008 in a small hall in Jerez de la Frontera<\/strong>, the Asociaci\u00f3n Cultural Fernando Terremoto, the pe\u00f1a<\/em> \u2014a flamenco members’ club\u2014 that carried her father’s name. She was eight years old and she was sitting in the audience, among her own people. Her father, Fernando Terremoto<\/strong>, called her up onto the stage and handed her a buler\u00eda<\/em>. She took it and she sang it.<\/p>\n

That night was, according to the biography the Bienal de Flamenco de Sevilla<\/a> published years later, his final farewell to the stage<\/em>. He was ill. He died on 13 February 2010<\/strong>, aged forty, of a brain glioma. His daughter was ten. Everything she has done since \u2014the youngest Giraldillo in the history of the Bienal, two albums, an entire show devoted to her family\u2014 happens after that night and because of it.<\/p>\n

A Surname That in Jerez Is an Address<\/h2>\n

Mar\u00eda Fern\u00e1ndez Ben\u00edtez was born in Jerez de la Frontera on 21 December 1999<\/strong>, in the Santiago quarter<\/strong>, which is to Jerez what the Alameda is to Triana: not a neighbourhood with flamenco in it, but a place where singing is a way of being in the world. That is where she is from. And that is the first answer to give when someone asks where Mar\u00eda Terremoto comes from, because in flamenco the place is not a line on a form: it is half the explanation of how a voice sounds.<\/p>\n

Jerez has a way of saying things of its own. It is a cante of rajo<\/em> \u2014a rough, torn edge in the voice\u2014 short in tone and long in weight, closer to the beat than to display, with a way of finishing a buler\u00eda that cannot be learned anywhere except by being there. In her house, besides, it was not an influence: it was the family trade. Her paternal grandfather, Fernando Fern\u00e1ndez Monge<\/strong>, \u00abTerremoto de Jerez<\/strong>\u00bb (1934-1981), was one of the greatest cantaores of the twentieth century in the city and is still the reference for the seguiriya of Santiago. Her father, Fernando Fern\u00e1ndez Pantoja<\/strong> (1969-2010), started out as a guitarist with Manuel Morao and did not make up his mind to sing until he was past twenty, because of the weight of the shadow he was carrying.<\/p>\n

\n\"Mar\u00eda
Mar\u00eda Terremoto singing por seguiriyas in \u00abTerremoto, un siglo de cante\u00bb, 26 Festival de Jerez, 2022. An ALL FLAMENCO production.<\/figcaption><\/figure>\n

She never met her grandfather: he died eighteen years before she was born. She knows him the way anyone knows him, through the records, and through what is said at home. In her biography for Suma Flamenca<\/a> she puts it like this: \u00abAs a boy my grandfather went through a great deal of sorrow, and he drew the rage up from the very bottom\u00bb<\/em>. Of her father she remembers something more domestic, and more revealing about the trade: \u00abMy father used to shut himself in the bedroom to compose, he recorded himself on a little machine and he would repeat it a thousand times\u00bb<\/em>.<\/p>\n

Of that grandfather we hold \u00abTerremoto. El documental\u00bb<\/a> in the catalogue, the portrait of the man the nickname comes from.<\/p>\n

BIO<\/h2>\n

Name and birth<\/h3>\n

Mar\u00eda Fern\u00e1ndez Ben\u00edtez, \u00abMar\u00eda Terremoto\u00bb.
\nJerez de la Frontera (C\u00e1diz), 21 December 1999. Santiago quarter.<\/p>\n

Flamenco family<\/h3>\n

Grandfather: Fernando Fern\u00e1ndez Monge, \u00abTerremoto de Jerez\u00bb<\/em> (1934-1981), a master of the seguiriya.
\nFather: Fernando Fern\u00e1ndez Pantoja, \u00abFernando Terremoto\u00bb<\/em> (1969-2010), cantaor and guitarist.
\nHer father was nominated for a Goya award in 2004 for the song from Vicente Aranda’s Carmen<\/em>.<\/p>\n

Debut<\/h3>\n

Aged one, at a zambomba<\/em> \u2014a Jerez Christmas gathering\u2014 in a neighbours’ courtyard.
\nAged eight, por buler\u00edas, at the Asociaci\u00f3n Cultural Fernando Terremoto. (The Bienal’s official biography places that day at the age of nine; the Universal press release and the festival biographies say eight.)<\/p>\n

Awards<\/h3>\n

Giraldillo Revelaci\u00f3n, XIX Bienal de Flamenco de Sevilla (2016): the youngest artist ever to receive it.
\nVenencia Flamenca (2017).
\nCruzcampo award for best performance, Festival La Isla Ciudad Flamenca.
\nPremio Joven Ciudad de Jerez (2019) and Nuevos Creadores of the Secretariado Gitano (2019).<\/p>\n

Albums<\/h3>\n

La huella de mi sent\u00edo<\/em> (IRMusic, September 2018).
\nManifiesto<\/em> (Universal Music Spain, 31 January 2025).<\/p>\n

Sixteen Years Old and the Youngest Giraldillo in the Bienal<\/h2>\n

The road was not a sudden discovery, although it looked like one. Around 2014, aged fourteen, she began to sing now and then in the pe\u00f1as of Jerez. In 2015 the bailaor El Carpeta<\/strong> called her for his shows. And in 2016<\/strong>, at the Festival de Jerez<\/strong>, she gave a recital that the critics received with a unanimity that is not usual for an artist of that age.<\/p>\n

That same year, at the XIX Bienal de Flamenco de Sevilla<\/strong>, she took the Giraldillo Revelaci\u00f3n<\/strong> and became the youngest person ever to receive it. She was sixteen. What was singled out then \u2014and it is still her defining trait\u2014 was not power, which Jerez has in abundance, but restraint<\/em>: the ability not to decorate, to leave the cante bare and hold it there. It is the virtue of an old singer.<\/p>\n

She herself has put an uncomfortable qualification on that start, in remarks collected by DeFlamenco<\/a>: \u00abIf my father were alive he would not have wanted my launch as a cantaora to come so soon. He would have preferred me to study flamenco in depth before going up on stage\u00bb<\/em>. That is not false modesty: it is the awareness that a surname opens doors before their time.<\/p>\n

\u00abLa huella de mi sent\u00edo\u00bb: a First Album at Eighteen<\/h2>\n

In September 2018<\/strong> she released La huella de mi sent\u00edo<\/em>. It is built on the cantes she heard as a child \u2014traditional, jondo flamenco\u2014 with arrangements that look towards the sound of today, and the critics received it as the record that confirmed what the Bienal had rewarded two years earlier.<\/p>\n

\n\"Mar\u00eda
\u00abParte de m\u00ed\u00bb, at the launch of \u00abLa huella de mi sent\u00edo\u00bb. Teatro Villamarta, Jerez. An ALL FLAMENCO production.<\/figcaption><\/figure>\n

We have the launch at the Teatro Villamarta in Jerez<\/a> recorded in full: seventy-eight minutes, with Ricardo Mi\u00f1o<\/strong> and Esperanza Fern\u00e1ndez<\/strong> as guests. From that album came \u00abLuz en los balcones\u00bb<\/a>, the song dedicated to her father. That video is one of the open ones: it can be watched without a subscription.<\/p>\n

Then came the Cruzcampo award<\/strong> for best performance at the Festival La Isla Ciudad Flamenca, the Premio Joven Ciudad de Jerez 2019<\/strong> and the Nuevos Creadores 2019<\/strong> award from the Secretariado Gitano. That year she also directed her city’s Fiesta de la Buler\u00eda Joven, which in Jerez is a commission with a meaning attached.<\/p>\n

What You Hear When She Sings<\/h2>\n

The question almost nobody asks, and the one that matters, is what exactly Mar\u00eda Terremoto does with her voice. She commands the full jondo repertoire \u2014sole\u00e1<\/strong>, seguiriya<\/strong>, buler\u00eda<\/strong>, fandangos<\/strong>, canti\u00f1as<\/strong>, tientos<\/strong>, malague\u00f1as<\/strong>, martinete<\/strong>\u2014 but every press release says that. What is different is how she administers it.<\/p>\n

In the sole\u00e1<\/a> she works in a middle register with long phrases, without theatrics, and saves the attack for the final tercio<\/em>. In the seguiriya<\/a> \u2014her grandfather’s palo, and that is no coincidence\u2014 she lets the voice drop almost to speech before opening it out. In the martinete<\/a>, which is sung with no guitar and no safety net, the Santiago school comes through with no filter at all. And in the buler\u00eda<\/a> the other thing appears, what Jerez calls having gracia<\/em> and what has no translation: the finish, the desplante<\/em>, the beat that runs half a step ahead and comes back.<\/p>\n

Her references, which she has named on RTVE, explain why her flamenco does not sound like a museum: \u00abI like Aretha Franklin, Nina Simone, La Paquera de Jerez, Estrella Morente, and listening to a lot of music\u00bb<\/em>. Two cantaoras from Jerez and two soul voices, in the same sentence and with no hierarchy between them.<\/p>\n

Manuela Carrasco, \u00abMy Third Grandmother\u00bb<\/h2>\n

There is a chapter of her training that has nothing to do with singing. During the years she lived in Seville she was close to the bailaora Manuela Carrasco<\/strong>, whom she calls her third grandmother<\/em>. What came out of it was not a cantaora who dances but something more useful: a cantaora who understands dance from the inside and knows how to stand still on a stage. It shows in her gestures and in the way she measures silence.<\/p>\n

\n\"Mar\u00eda
Mar\u00eda Terremoto in her concert \u00abRa\u00edces\u00bb, 22 Festival de Jerez. An ALL FLAMENCO production.<\/figcaption><\/figure>\n

That apprenticeship is clearly visible in \u00abRa\u00edces\u00bb<\/a>, the concert she took to the 22 Festival de Jerez, where she explicitly claimed the inheritance of the gypsy cante of the Santiago quarter. And in \u00abCanciones para una cantaora\u00bb<\/a>, recorded at the Coto de la Cantera in Osuna, where she carries a whole evening accompanied only by a piano: with no palmas and no guitar to hold on to, the cante is left out in the open.<\/p>\n

2022: the Night She Sang for Her Own People<\/h2>\n

At the 26 Festival de Jerez<\/strong> she premiered \u00abTerremoto, un siglo de cante\u00bb<\/a>, an entire show devoted to her family. We have it recorded complete, eighty-five minutes, and it is probably the best way in to what she does.<\/p>\n

Three moments are worth the price on their own. \u00abMi casa cantaora\u00bb<\/a>, which she sings a capella<\/strong>, with nothing underneath, in a dress by the designer Pilar Rubio. \u00abSe te fue la vida\u00bb<\/a>, the tribute to her father, with Diego Carrasco<\/strong> as a guest alongside her. And a seguiriya<\/a> with the guitar of Nono Jero<\/strong> which is, of the whole show, the point where the surname weighs most. At the end comes \u00abCambalache\u00bb, a tango from Buenos Aires that she pulls onto her own ground, in case anyone thought a family tribute had to be solemn from beginning to end.<\/p>\n

2022 was also the year she left Spain in earnest: she passed through the Expo in Dubai<\/strong>, toured New York, Miami and Chicago<\/strong> and was nominated at the Ode\u00f3n awards as flamenco breakthrough artist. The press had been calling her \u00abthe princess of cante jondo\u00bb for some time. The label served her while she was the young hope; from here on it began to look too small.<\/p>\n

\u00abManifiesto\u00bb (2025): the First Time the Lyrics Are Hers<\/h2>\n

In July 2024 she signed with Universal Music Spain<\/strong>. On 31 January 2025<\/strong> she released Manifiesto<\/em><\/strong>, her second album, six and a half years after the first: eight songs, a little over twenty minutes, recorded in six days<\/strong> at the Metropol studios in Madrid with the guitarist Yerai Cort\u00e9s<\/strong> \u2014the same one who has worked with C. Tangana\u2014 on guitar, palmas, percussion and production.<\/p>\n

What matters is not the label or the producer: it is that for the first time she writes all the lyrics herself<\/strong>, apart from a few traditional fragments, and that she wrote them, by her own account, in about two weeks. The album is laid out as an emotional journey with a name for each stage \u2014\u00abDesconcierto\u00bb, \u00abDudas\u00bb, \u00abConciliaci\u00f3n\u00bb, \u00abDevoci\u00f3n\u00bb, \u00abResiliencia\u00bb, \u00abLibertad\u00bb, \u00abCoronaci\u00f3n\u00bb\u2014 and opens with \u00abA la muerte\u00bb, a romance sung bare over a minimal caj\u00f3n, about losing the people you love. Rockdelux<\/em>‘s review<\/a> picks out the detail that best defines the record: a petenera, \u00abAlma no salgas del cuerpo\u00bb, with two synthesiser notes underneath. Nothing else. MondoSonoro<\/em><\/a> settled it as \u00abone of the flamenco records of the year\u00bb.<\/p>\n

She presented it at the Teatro Villamarta in Jerez on 1 February 2025, after a preview in N\u00eemes two weeks earlier, and then toured Marbella, Barcelona, M\u00e1laga, Granada, Seville, Burgos and C\u00e1diz, with a stop at the Universal Music Festival in Madrid’s Teatro Alb\u00e9niz.<\/p>\n

Why She Sings Like That<\/h2>\n

It comes down to three things, and none of them is talent, which is taken for granted. The school<\/strong>: Santiago, Jerez, a cante learned by ear in people’s houses and not in a conservatory. The grief<\/strong>: a father who said goodbye to the stage by handing a buler\u00eda to an eight-year-old girl and died two years later, and a body of work that has spent twenty years coming back to that without ever turning sentimental. And the restraint<\/strong>, which is the decision not to shout when shouting is available.<\/p>\n

At twenty-six she is no longer a promise of the young cante, which is how she was introduced for the best part of a decade. She is a finished cantaora who, holding the heaviest surname in Jerez, has chosen the hard road: to sing like her own people without imitating them.<\/p>\n

Where to Watch Mar\u00eda Terremoto Sing in Full<\/h2>\n

The ALL FLAMENCO catalogue holds fifty-five titles<\/strong> she appears in, filmed in 4K in theatres and festivals, from complete recitals to single cantes. These eight are the place to start; the last two are open and can be watched without a subscription.<\/p>\n

\n
\n

\n\"Mar\u00eda1 h 25 min<\/span><\/span>
\nTerremoto, un siglo de cante<\/strong>
\n<\/a><\/div>\n

\n\"Mar\u00eda1 h 2 min<\/span><\/span>
\n\u00abRa\u00edces\u00bb. 22 Festival de Jerez<\/strong>
\n<\/a><\/div>\n

\n\"Mar\u00eda1 h 18 min<\/span><\/span>
\n\u00abLa huella de mi sent\u00edo\u00bb. Villamarta<\/strong>
\n<\/a><\/div>\n

\n\"Mar\u00eda48 min<\/span><\/span>
\nVII La Isla Ciudad Flamenca<\/strong>
\n<\/a><\/div>\n

\n\"Mar\u00eda47 min<\/span><\/span>
\n\u00abCantaora\u00bb. Flamenco al Aire<\/strong>
\n<\/a><\/div>\n

\n\"Mar\u00eda1 h 2 min<\/span><\/span>
\n\u00abCanciones para una cantaora\u00bb<\/strong>
\n<\/a><\/div>\n

\n\"Mar\u00edaFree<\/span>4 min<\/span><\/span>
\n\u00abLuz en los balcones\u00bb<\/strong>
\n<\/a><\/div>\n

\n\"Mar\u00edaFree<\/span>1 h 9 min<\/span><\/span>
\nVivamos el Flamenco con Mar\u00eda Terremoto<\/strong>
\n<\/a><\/div>\n<\/div>\n<\/div>\n

She also appears, alongside other voices of today’s cante, in \u00abLo mejor del cante en La Isla Ciudad Flamenca\u00bb<\/a> and in the Noche Flamenca del Parque devoted to women’s voices<\/a>. The full list is on her artist page<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

When she was eight her father called her up onto the stage of the pe\u00f1a that carried the family name and handed her a buler\u00eda. It was the last time he ever sang in public. Since then the surname has been hers to carry.<\/p>\n","protected":false},"author":1,"featured_media":410156,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","_af_refresco_fecha":"","_af_refresco_destino":0,"footnotes":""},"categories":[124,134],"tags":[],"class_list":["post-387704","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-biografias","category-bios-en"],"yoast_head":"\nMar\u00eda Terremoto: Who She Is, Where She Is From and Why She Sings<\/title>\n<meta name=\"description\" content=\"Granddaughter and daughter of Jerez cantaores, youngest ever Giraldillo Revelaci\u00f3n, author of \u00abManifiesto\u00bb. 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