Rocío Jurado had three dresses ready for her wedding with Jose Ortega Cano, 26 years ago. However, one of them was never put on by her. Thanks to the tribute of “the greatest” that made Sálvame last Tuesday, the audience was able to know the existence of this unknown dress, from the hand of its designer.
It has been the couturier Carlos Arturo Zapata himself who wanted to bring this “jewel” that he had stored since then in his house in Cali, Colombia, to pay him his particular tribute.
After so many years keeping it, he has decided that the best option was to auction it off and donate the money to get the Aladina Foundation with it, as announced in “Save me.”
The Aladina Foundation not only accompanies the little ones in the treatments when they suffer cancer, but also, according to Carlos Arturo Zapata, they carry out a task that he believes Rocío Jurado would support.
The way to participate in this virtual auction is very simple. You just have to do it through its website link. The bidding started this Friday at 4:00 p.m. with a starting price of 400 euros and will end this Monday, December 20 at 7:20 p.m.
Rocío Jurado and José Ortega Cano were married on February 17, 1995, 25 years ago, in Yerbabuena. “The wedding of the mataor and the folkloric is a sentimental event that responds to a popular mythology so deeply rooted in our idiosyncrasy that it survives the European modernity of the end of the century.”
This is how they described in the “Weekly Report” program the wedding of the year, along with that of the Infanta Elena. That of La Jurado and Ortega Cano was one of the most brilliant in a long line of unions between tonadillera and bullfighter:
“Pastora Imperio and Rafael Gómez El Gallo, Concha Piquer and Antonio Márquez, Conchita Márquez Piquer and Curro Romero, Paquita Rico and Juan Ordóñez, Isabel Pantoja and Francisco Rivera before, and Javier Conde and Estrella Morente later, they had been in charge of consolidating a concept that seemed to be taken from a couplet. Jurado’s wedding with a bullfighter further consolidated his legend because the greatest is the paradigm of the popular Spanish singer of our era, who summarizes the whole history of the copla and expands it until it echoes the great flamenco art”, as wrote Terenci Moix in “Suspiros de España”.
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