Diego Urdiales' essential bullfight triumphs in Santander

Diego Urdiales’ essential bullfight triumphs in Santander

The basic bullfight, which is excluded today, triumphed in Santander. Thanks to God and also and above all to Diego Urdiales. Because Diego Urdiales was content with interpreting the usual bullfights. As he always does. Classic bullfight. Diego Urdiales opened the front door of the century-old Plaza de Santander, commenting on the a la veronica bullfight, the elimination of chicuelinas, an ingenious bullfight in the round and, naturally, an immeasurable way of bullfighting.

No ballet, no ruins, no luquecina, no bernadina, nothing. None of this has brought climate change to the bullfights of the 21st century, which whips and punishes every afternoon and from task to task. Urdiales and basic bullfighting. Basic bullfighting and Urdiales. Neither more nor less.

PHOTO: Arjona/Lances de Futuro.

Diego Urdiales’ classicism and bullfighting took us back in time. At the same time, she stopped with her dolls in a series of natural anthological paints. Three of them were naturals of three cartels. The three of them had the perfect shot, the high depth, the absolute depth, the most absolute fury, and the full rhythm. Infinite slowness. When Urdiales wanted to tie the fourth, ‘Subscriber’ took a step back and gave up forever. Juan Pedro Domecq was suppressed and defeated with a superior fighting method with his left hand. If Juan Pedro can refer to these animals as such, then beauty was handed over to the beast.

Earlier, Urdiales took it with a bouquet that started after the third and was full of flavor, dash and fury, finishing with a chicuelina so short that it started to stay ‘juampedro’. After a very light fight on horseback, Urdiales returned to palo de cante grande with a cape: verónica. Once again they had lines, packaging, compasses and rhythms. By then, ‘Subscriber’ has moved away from flights between one set and another. This and a good step up in the banderillas encouraged Urdiales to start work in the media. Toro and the bullfighter broke the second series in the round: domineering, powerful, subjugated and humiliated. Warm and rhythmic in equal parts.

Then the roof of the afternoon (and afternoon) would come naturally. Except for the bull, he skillfully reached out at the end of the mission, making it difficult for Urdiales when it came to killing him.

PHOTO: Arjona/Lances de Futuro.

Juan Pedro Domecq’s bullfight was devoid of spirit, drive, greed, transference, and race. There is nothing new and unknown when dealing with this iron. It’s very common in posters, which is really bad. The one who made the second was also lacking in existence. Face and box. Only saluting Veronica de Urdiales could replace protests against the bull for praise of the bullfighter. Verónicas had rhythm, rhythm, packaging, taste and rhythm. So the aroma of Urdiales.

Urdiales slowed down attacks with the right python, which got better after the second muletazo. More orderly, more outspoken and noble. And that’s when the serial bullfighting soared in decibels. Impact attack, waist swayed, kidneys collapsed, wrist broken. Bullfighting sources arrived to resolve ‘juampedro’ threats to querencia. It left most of the flights off the left python, blacking out tickets and requiring the bullfighter to reposition himself. They came back to come, now loose, good moments on the right. Taurus Acquerenciado made a big move with the bull on the Urdiales tables. Now explain that this bullfighter has only three commitments signed in August!

PHOTO: Arjona/Lances de Futuro.

The first ‘juampedro’ of the afternoon lacked strength and possessed many geniuses. Innovation. A little ride was the attack of the ‘Tequila’ right python. Blank for right. Salt was missing.

Losing his hands and shaking his head, ‘Víboro’ dismounted, second in Morante’s park. At the snatch start of the two-handed slaughter, the bull seemed to have no mobility. With some things and others, Morante chose to do everything in favor of the bull, which became a bullpup practiced in short series and mid-height. So right hands began to sprout matter, line and meeting. A change of hands there and a few doubloons there, Juan Pedro’s passing came, but the burial came violently.

A century-old bullfight for a century-old bull with only a soap dish. But it was as penetrating as the rearward change in connection with the contempt of the left hand. Even jumping. Morante returned to interpret the two-handed bullfight in the epilogue, which became a mixture of beauty and explosion. The attack was good, and judging by the opponent, the reward was a bit too much.

Juan Ortega chose the delicacy before the third. A delicacy that comes by waiting for the bull, offering the belated muleta, and drawing the half muletazo. If the bull did not go out, losing his hands, he was caught in the fabrics of the trianero. Same thing happened for both pythons. Bullfights came in the form of loose brushstrokes and the job was left unfinished. The sixth became impossible from the start. Too many headshots that Ortega didn’t finish directing, like before the first one.

The Four Ways arena in Santander. Third of the Santiago Fair. More than three quarters full. The bulls of Juan Pedro Domecq, in their presence as a whole, the first and second inappropriate, generally devoid of race and caste. Fifth, the highest quality was less.

– MORANTE DE LA PUEBLA, silence and two ears;
– DIEGO URDIALES, consecutive warning and word of mouth;
– JUAN ORTEGA, standing ovation and standing ovation.


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