Amancio prada ciudad encantada

On returning to Spain in 1975, he recorded his second record, dedicated to ROSALÍA DE CASTRO , and settled in Segovia, where he was to devote himself completely to composition. The results of this period were CARAVEL DE CARAVELES , CANCIONES DE AMOR Y CELDA , LEILA DOURA, and CÁNTICO ESPIRITUAL . The St. John of the Cross Cántico Espiritual marked the start of a series of recitals beginning in the Teatro Español in Madrid in February 1982. During that year he also recorded CANCIONES Y SOLILOQUIOS , on Agustín García Calvo´s poems, and started a concert tour which took him to the main North American universities. In the next few years, and following his presentation in Barcelona´s Palau de la Música, Milan´s Piccolo Theatre and Paris´s Odeon, he recorded DE LA MANO DEL AIRE (1984) and DULCE VINO DE OLVIDO (1985). His appearance in Madrid´s Teatro Real, in the first annual Festival de Otoño, confirmed once more the unanimous critical acclaim that had been greeting his performances up to that point. The critics drew attention in particular to the depth of his work and his unusual artistic orientation or, as Edward Rothstein put it in the New York Times, the flexibility of his timbre and his dramatic capacity on stage. In 1986 he gave the first performance of SONETOS DEL AMOR OSCURO (F. García Lorca) in the Teatro María Guerrero in Madrid, under the direction of Lluis Pasqual, and started work on his next album, A DAMA E O CABALEIRO (1987), on the neo-troubadour poetry of Alvaro Cunqueiro. He then, in collaboration with the writer Manuel Vicent, composed the songs for the record NAVEGANDO LA NOCHE (1988).

Amancio Prada Ciudad EncantadaAmancio Prada Ciudad EncantadaAmancio Prada Ciudad EncantadaAmancio Prada Ciudad Encantada