In 2017, at the age of 10, he was winner of “Mallorca Talent” and two years later, in 2019, he received the award for the revelation artist of the Infest International Film Festival. He was also a finalist in 2021 in the Concurso Internacional del Cante de las Minas (The flamenco oscars), being the youngest artist who had participated to date. Last year he received the New Creators Award from the Institute of Gypsy Culture, promoted by the Ministry of Culture and Sport, and the Venecia Flamenca, the highest award of the Festival Flamenco de la Mistela. In 2024 has just been proclaimed winner of  “The Battle of the Judges” in Got Talent Spain. Despite his youth, he has shared the stage with great artists such as Pitingo, Duquende and Jorge Pardo.

Months before he did it before the general and popular public with his golden pass for the final of Got Talent Spain. Correct and elegant always towards others, but his people recognize that at first Antón did not want to go to this television contest because it seemed to him “a circus” where flamenco was not valued in its fair measure. After his exhibition in the semifinal, with his own composition, his mentor Fernando Peguero, a key figure in the formation of little Antón and who bought him his first piano, suggested him to play something more classical, more commercial, and leave flamenco aside and explore other styles to have a better chance of winning. He sent him Asturias by Isaac Albéniz by whatsapp. Antón listened to it and replied “Thank you Fernando, I love it, it's a great song, now I'll get on with it”. Six minutes later he sent him a video of him playing it at home.

I had never heard that piece before. All the arpeggios, chords, melodies, silences and strokes that Albéniz composed to turn it into a universal classic were there, in Antón's fingers. And executed with the utmost expressiveness and emotion. A piece that lasts exactly six minutes and starts at Allegro tempo has many notes. And they were all there. This journalist had access to that chain of messages, and to the video. Their temporal correlation is exact, and the execution of the video, fascinating. Six minutes. Just as long as the composition lasts. Normally a professional classical pianist needs a minimum of two hours to transfer to his instrument, completely and correctly, the score of a new theme. Anton listened to it, sat down in front of his piano at night and played it by ear as he has always done. Naturally, freely and letting his fingertips flow across the keys. Although he has recently started reading classes, even today he offers his recitals based only on his ear, his improvisation and his feeling of the moment.

But in the end he decided to play his flamenco in front of the cameras and, as expected, the winner was chosen from among more commercial and convenient proposals, despite the excellent assessment of the public and jury in his final performance. That experience, together with the day he was rejected from the Conservatorio Superior de Baleares during the direct access tests because “in spite of his excellent technique and perfect execution” the jury added that “he lacks the minimum knowledge of musical language necessary to make the most of our studies”, forged his firm decision to dedicate himself exclusively to flamenco with his own style and through a self-taught method. Anton, initially disappointed and saddened by this moment, became aware that he only wanted to dedicate himself and focus on flamenco and piano. He looked for a private teacher at the Conservatory specializing in classical piano, but soon he gave up, recognizing that he could not teach him anything. His technique was unknown, superior, and more effective than hers. 

It doesn't matter that he crosses his arms randomly and anarchically when his hands strike the keys, it doesn't matter that he is playing for the first time in front of a full auditorium or that he is accompanied by prestigious professional musicians, authentic specialists in the art of flamenco after years of study, work, performances and life. Antón plays and the duende appears. That is why a few days ago Pitingo wanted him to accompany him, being in love with him, who will repeat this Saturday October 30 with the great cantaor Duquende, in the solidarity festival of Aspanob in favor of the fight against cancer to be held at the Palau de Congressos de Palma. A luxury, an honor and a privilege for an impuberal who does not seem to weigh the responsibility of the appointment. That the one who was Paco de Lucia's official cantaor for twenty years has accepted to collaborate as a guest artist, in the debut of the first tour of a boy of fourteen years of age, leaves no doubt that we are before the birth of a star who has burst like few others at his age in flamenco. Duquende and Cortés will be accompanied by other great musicians such as Toni Cuenca on double bass and electric bass, Kiko Carmona and Aurora La Cani, expressly from Madrid the young and promising dancer Rapico, Benji Habichuela on percussion, Núria Millán and Jorge Cortés on vocals and the special performance of the great Benjamín Habichuela, a legend of flamenco guitar. 

A historic appointment and a unique opportunity for the senses in a hymn to solidarity and pure art. The first two minutes of conversation with him are enough to realize that you are in front of a special, different and unique person. Not even the cold and aseptic atmosphere of the reserved area of the hall of a modern and luxurious hotel does not inhibit this teenager, still a beardless boy, when he talks about music. Before and after he is shy, maybe just introverted. But always polite, formal, prudent and courteous. Uncomfortable because of the space, or the moment, or perhaps because of the presence of an unknown journalist who, seated at a huge meeting table for executives, interrogates him under the gaze, and the question and answer trial, of the representative of the production, his mother, his father, his godfather and the penman himself. Understandable, he is still a minor. During the silences, and in the reflections, comments and clarifications of the adults, Anton leaves. He looks at the ceiling or any corner of the large room, turns his chair and turns around, leaves his body and seems to be absolutely uninterested in what is happening around him. He comes back to earth when the journalist continues his work and his gaze, previously lost, is now fixed on the eyes of the inquisitor. She looks strong, intimidating, distrustful and, at times, haughty. But no. You immediately understand that it's nothing like that. 

 It is respect. Respect for flamenco, respect for the music, respect for the piano, and respect for the beauty of a musical style well felt and executed.