Omara Portoono Biography
Viva Omara! The Caribbean region is the main world region of dance music, Cuba is the main country of the main region of world theater music. Dozens of varieties of local sound design of life-from the most tender old bolero and thrones to the manic modern Timba-have always been a model and example for gloomy Anashists-Yamais with their reggae and SKA, and for cheerful Colombians from their crazy cocaine salsa, and for all other inhabitants of tropical islands and coasts, dancing all their lives, from all their lives.
The cradle is to the grave. A special attitude towards music in Cuba is special: to tap rhythms on sticks-claws, metal rattles of the agogo and dozens of other percussion instruments, drums, drums and drums, can be able to any underpass from a cheap rum, and small conservatives, where they are seriously taught, including about the same, from where they brought out, from where they brought it up.
Hemingway. Everything is saturated with music on the magic island, and what music ... only a real miracle can move to the stars of a professional scene. And when this miracle also arrives with a concert to Moscow, this is just fantastic. And yet. Omara Portwino was born in M in the old Havana on Salyud Street, next to the house where the guitarist and singer compay Segundo was born and raised.
With him at the end of the century, she will record on the famous Buena Vista Social Club record, which returned Cuban music to her royal status, lost after the Second World War. The life of a large-eyed shy girl was not easy: the mother, which comes from the Spanish aristocratic family, and the black father-beadball player could not even appear together on the street, which in those years did not welcome such marriages at all.
The comfort was dance music: at first Omara tried herself as an artist of the corps de ballet in the Kabaret “Tropican”, but soon began to sing. In those years, the island just came into fashion for a new style, owl-a mixture of the romantic Cuban Ballad-Blero cannot be confused with Ravel with American jazz. As part of the quartet, PortwoDo managed to perform with the great Nat King Cole and go to several successful tour.
The news of the revolution found her in Miami. Haydi remained in exile, Omar returned. Thus began her solo career. This career was successful - the records were released regularly, although the Cuban recording under Fidel is a separate circus, worse than the ugliness at the Melody's outlet company, the concerts ended with unchanged ovations, the singer was released only in the countries of social camps or the corresponding political events in the capitalist world, such as the Yumani festival, caused a storm enthusiasm.
But the real confession, which Portooooo deserved, was waiting for the singer with the onset of the Cuban "thaw", at the beginning of x. Portwojo was the only woman who spent on this great record, the classic Ballad of Veinte Anos in her performance took the heart so that the soloel of the vocalist, who soon followed, became one of the most successful work in the Buena Vista series.
Fortunately, to get to the concert, to hear this deep, slightly hoarse voice, singing the sincere samples of Cuban vocal classics, will be much easier than in the case of Caesaria Evora, which, incidentally, is pretty much imitated by Portowood. The fans of the-tolestosum and the Moscow snobs dragging behind them know Cuban music poorly, so it is still possible to buy tickets, and it is worth it: folk singers, unlike rockers, become only more sincere and warmer over the years.
Picture of the day.