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From Armando Manzanero, you can decipher the sociology of bolero. His songs cross the barriers of age, nostalgia, pre-established tastes. They accept the most diverse collective itineraries and human experiences, perhaps because they are made with no other pretension than to speak, in a few minutes and only two or three stanzas, of shared feelings.
This perception was held by those who night. Sunday at a point on the Malecon Havana near the beginning of Calle 23 attended the concert offered by the composer and singer of Yucatan, finally and after many avatars, for the first time in direct contact with the Cuban public.
he knows his songs by heart and those that are not, the less known, those of recent manufacture, enter the ear with the same ease as always. Such is the melodic solemnity of his themes and the charisma that emanates from his interpretations.
They applaud him before and after his visit to the scene. He is aware that Cuba, as perhaps no other country in the region, has been so influential in his artistic training since he made his professional debut in the 1950s and then released his first songs.
In the Merida of his In childhood, he listened to Cuban radio and when he breathed the trova of Yucatan – his father sang in trio – he inevitably came into contact with what the island must know. For his head he had to spend his meeting with Dámaso Pérez Prado, who reigned in Mexico, the imprint in his country of the great authors of the film Caesar Portillo de la Luz and José Antonio Méndez, and the badimilation of the Cuban song by two performers who helped launch his career as a composer, his compatriot Pedro Vargas and the Chilean Lucho Gatica. The end of the show on the Malecón was a profession of faith, singing Inolvidable, by Julio Gutiérrez.
At the beginning of the concert, eagerly awaited by a fervent audience, there was another sign of doubt: a Manzanero many prefer it in intimacy, given the character of their songs, more appropriate to be said in their only in an open space of multitudinal range. But Manzanero managed to make the arrangement complete, especially when he sat on the piano more than once and reinstated the singer-songwriter status that dialogues with no more than two people.
No matter that he sings in a shaky voice – no one will understand them in his case with a tenor or a crooner – because everyone was waiting for that. he is full: the simple poetry of his verses, the human condition of his works, the empathy with the memory that was happening as this afternoon I saw the rain, from Smells to danger I will extinguish the light, the ineffable As I loved you will wait, not forgetting the transit because I do not know you or mine, or the discovery of the age constraints of the I & # 39; Love in We needed time.
He found correspondence among Cuban guests of the night. Eliades Ochoa soneó El ciego; Omara Portuondo, from his throne, shared Adoro, and Haila María Mompié, architect to a large extent of the singer-songwriter's presence on the island, gave a Manzanero song that is part of his most recent phonographic production, There are no limits, and it salsa an °
The audience received Aranza, a Mexican singer of good size and proven performance, who for a while, through telenovela, made Manzanero a title of merit to climb.
but what was heard and lived was enough. Above some weaknesses of the sound, beyond the long wait that those who went beyond the Malecón followed the concert in a RTV Comercial performance for Cbad Clave, viewers who had to undergo some poor quality video clips with exceptions, above a production that sometimes did not articulate down the stage the messages of the event's sponsors – noble and necessary by their intention – to the logic of the concert, was the image of an authentic artist, who claimed their Mayan ancestors and gave love to Cubans.
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