Mercedes Sosa mp3 DVD

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$15.00

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MUZ02A0214

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Product Description

57 mp3 albums   (1959-2009)   689 mp3 songs   Total Time: 41:12:30

GENRE:    Música Folclórica Argentina, Samba

01 - Mercedes Sosa - Canta Mercedes Sosa [La Voz De La Zafra] (1959)
02 - Mercedes Sosa - Maestros Del Floklore (1959)
03 - Mercedes Sosa - Canciones Con Fundamento (1965)
04 - Mercedes Sosa - Hermano (1966)
05 - Mercedes Sosa - Yo No Canto Por Cantar (1966)
06 - Mercedes Sosa - Para Cantarle A Mi Gente (1967)
07 - Mercedes Sosa - Con Sabor A Mercedes Sosa (1968)
08 - Mercedes Sosa - Mujeres Argentinas (1969)
09 - Mercedes Sosa - El Grito De La Tierra (1970)
10 - Mercedes Sosa - Navidad Con Mercedes Sosa (1970)
11 - Mercedes Sosa - Homenaje A Violeta Parra (1971)
12 - Mercedes Sosa - Cantata Sudamericana (1972)
13 - Mercedes Sosa - Hasta La Victoria (1972)
14 - Mercedes Sosa - Traigo Un Pueblo En Mi Voz (1973)
15 - Mercedes Sosa - A Que Florezca Mi Pueblo (1975)
16 - Mercedes Sosa - Niño De Mañana (1975)
17 - Mercedes Sosa - En Dirección Del Viento (1976)
18 - Mercedes Sosa - La Mamancy (1976)
19 - Mercedes Sosa - Mercedes Sosa Interpreta a Atahualpa Yupanqui (1977)
20 - Mercedes Sosa - O Cio Da Terra (1977)
21 - Mercedes Sosa - Si Se Calla El Cantor (1977)
22 - Mercedes Sosa - Serenata Para La Tierra De Uno (1979)
23 - Mercedes Sosa - A Quién Doy (1980)
24 - Mercedes Sosa - Gravado AO Vivo No Brasil (1980)
25 - Mercedes Sosa - En Argentina (1982)
26 - Mercedes Sosa - En Argentina [Doble] (1982)
27 - Mercedes Sosa - Mercedes Sosa En Argentina (1982)
28 - Mercedes Sosa - Como Un Pájaro Libre (1983)
29 - Mercedes Sosa - Mercedes Sosa (1983)
30 - Mercedes Sosa - Recital (1983)
31 - Mercedes Sosa - Corazón Americano CD1 (1985)
32 - Mercedes Sosa - Corazon Americano CD2 (1985)
33 - Mercedes Sosa - Vengo A Ofrecer Mi Corazón (1985)
34 - Mercedes Sosa - Mercedes Sosa '86 (1986)
35 - Mercedes Sosa - Mercedes Sosa '87 (1987)
36 - Mercedes Sosa - Amigos Mios (1988)
37 - Mercedes Sosa - En Vivo En Europa (1990)
38 - Mercedes Sosa - De Mí (1991)
39 - Mercedes Sosa - 30 Años (1993)
40 - Mercedes Sosa - Sino (1993)
41 - Mercedes Sosa - Gestos De Amor (1994)
42 - Mercedes Sosa - Escondido En Mi País (1996)
43 - Mercedes Sosa - Alta Fidelidad (1997)
44 - Mercedes Sosa - Al Despertar (1998)
45 - Mercedes Sosa - Misa Criolla (2000)
46 - Mercedes Sosa - Acústico CD1 (2002)
47 - Mercedes Sosa - Acustico CD2 (2002)
48 - Mercedes Sosa, Victor Heredia y Leon Gieco - Serenata Para La Tierra De Uno (2002)
49 - Mercedes Sosa - Argentina Quiere Cantar (2003)
50 - Mercedes Sosa - Voz Y Sentimiento (2003)
51 - Mercedes Sosa - Corazón Libre (2005)
52 - Mercedes Sosa - Cantora 1 (2009)
53 - Mercedes Sosa - Cantora 2 (2009)
54 - Mercedes Sosa - Gracias A La Vida
55 - Mercedes Sosa - Homenaje A Osvaldo [Avena]
56 - Mercedes Sosa - Serenata Para La Tierra De Uno
57 - Mercedes Sosa - Si Se Calla El Cantor

Mercedes Sosa, (San Miguel de Tucumán, 9 de julio de 1935 – Buenos Aires, 4 de octubre de 2009) conocida como La Negra Sosa o La Voz de América, fue una cantante de música folclórica argentina reconocida en América Latina y Europa. Considerada como la principal cantante de Argentina. Fundadora del Movimiento del Nuevo Cancionero y exponente mayor de la Nueva Canción latinoamericana. Incursionó en otros géneros como el tango, el rock y el pop. Se definía a sí misma como "cantora" antes que "cantante", en lo que fue una distinción fundamental de la nueva canción latinoamericana de la que ella fue una de las iniciadoras: "cantante es el que puede y cantor el que debe" (Facundo Cabral). Ese ideal fue expresado por Mercedes Sosa en los títulos de sus álbumes como Canciones con fundamento y Yo no canto por cantar.
Entre las obras con que se ha destacado en el cancionero latinoamericano se encuentran Canción con todos, Alfonsina y el mar, Gracias a la vida, Como la cigarra, La maza, Todo cambia y Duerme negrito.[4] Entre sus discos se destacaron Canciones con fundamento (1965), Yo no canto por cantar (1966), Mujeres argentinas (1969), Homenaje a Violeta Parra (1971), Cantata Sudamericana (1972), Mercedes Sosa interpreta a Atahualpa Yupanqui (1977), Mercedes Sosa en Argentina (1982), Alta fidelidad (1997). Su último trabajo es Cantora, lanzado poco antes de su muerte, un álbum doble donde interpreta 34 canciones a dúo con destacados cantantes iberoamericanos, y cierra con el himno nacional argentino.

Información personal
--------------------
Nombre real: Haydée Mercedes Sosa
Nacimiento: 9 de julio de 1935, Origen    San Miguel de Tucumán, Bandera de Argentina Argentina
Muerte: 4 de octubre de 2009 Buenos Aires, Bandera de Argentina Argentina (74 años)
Ocupación: cantante

Información artística
---------------------
Tipo de voz: Contralto
Alias: La Negra Sosa, La Voz de América, La Voz de la Tierra, Mecha, Marta.[1]
Género: música folclórica argentina
Instrumento(s): voz, percusión, guitarra criolla
Período de actividad: 1959-2009
Sitio web: www.mercedessosa.com.ar

La folklorista, de 74 años, falleció como consecuencia de una afección hepática complicada por problemas respiratorios
La popular cantante argentina Mercedes Sosa, que con su voz luchó contra dictadores sudamericanos y se convirtió en un símbolo de la música contemporánea latinoamericana, murió en Buenos Aires a los 74 años.
La muerte de "La Negra", como se la cariñosamente conocida, ocurrió tras varios días de internación debido a severos problemas renales y llenó de tristeza a miles de admiradores que la vieron en escenarios de todo el mundo. Sosa fue apodada "la voz de la mayoría silenciosa" por su defensa de los pobres y su lucha por la libertad, y fue también una artista reconocida por músicos de todas las generaciones y estilos con los que compartió palcos y grabaciones, mostrando apertura y generosidad artística.
Su versión del tema Gracias a la Vida, de Violeta Parra, se convirtió en un himno para los izquierdistas de todo el mundo en las décadas de 1970 y 1980, cuando se vio obligada a exiliarse y sus discos fueron prohibidos. Su poderosa voz ganó aplausos en el exterior y popularidad en el país, al igual que su estilo.
En las turbulentas décadas de 1960 y 1970, Sosa fue un exponente clave del Nuevo Cancionero, un movimiento altamente politizado que trató de llevar la música popular de vuelta a sus raíces. También fue miembro del Partido Comunista y sus simpatías políticas le ocasionaron problemas durante la sangrienta dictadura militar argentina (1976-1983), en la que miles de personas murieron en la represión a disidentes de izquierdas. Los censores de Estado prohibieron sus canciones y Sosa huyó a Europa en 1979 después de ser detenida en mitad de un concierto junto al público en la ciudad universitaria de La Plata.
Sosa se definía con frecuencia como una mujer de izquierdas, aunque aseguraba que su verdadera vocación era el canto. "En realidad, yo nací para cantar. Mi vida está dedicada a cantar, a buscar canciones y a cantarlas", dijo en una entrevista en 2005. "Si me metiera en política tendría que descuidar lo más importante para mí, que es el folclore", agregó.
Sosa nació en una familia de clase obrera en la pobre provincia azucarera de Tucumán, en el noroeste argentino, y se enfrentó por primera vez a la fama cuando ganó un concurso de talentos en una radio local a los 15 años. Experta en interpretar canciones de otros autores, Sosa se abrazó a la poesía argentina y latinoamericana. Aunque hizo su incursión en el rock y el tango en los últimos años, sus raíces estuvieron siempre en la música de "tierra adentro".
Algunos meses antes de que el gobierno militar invadiera las Islas Malvinas en 1982, Sosa volvió a su tierra natal para encontrarse con sus canciones y con una nueva generación de jóvenes aficionados. En una serie de conciertos a su regreso cantó con reconocidas figuras de la música popular argentina como León Gieco y Charly García y salió de gira por Europa, Brasil y Estados Unidos, donde recibió una ovación de pie de 10 minutos en el Carnegie Hall de Nueva York.
A lo largo de su carrera, Sosa recibió una serie de galardones internacionales por la defensa de los derechos de la mujer, entre ellos varios premios Grammy Latinos y el premio CIM-UNESCO por sus "valores éticos y morales" y "su constante defensa de los derechos humanos".
Sosa tuvo complicaciones de salud durante varios años, pero volvió con un nuevo álbum en 2005. Este año, la intérprete lanzó un disco de dos volúmenes denominado Cantora, a dúo con renombradas figuras latinoamericanas como Joan Manuel Serrat, Caetano Veloso y Shakira, y que está nominado como mejor álbum del año para los Grammys Latinos 2009. "No soy joven ni hermosa, pero tengo mi voz y el alma que sale en mi voz", dijo en una entrevista en 2001.

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Product Reviews

La cantante argentina Mercedes Sosa, la "voz de América Latina, 'muere a los 74 años

Posted by admin on 24th Jan 2010

(CNN) - El cantante argentina Mercedes Sosa, conocida como "la voz de América Latina" por sus canciones sobre la situación de los pobres, falleció el domingo, según un anuncio en su página web. She was 74. Tenía 74 años.
La cantante argentina Mercedes Sosa murió en una clínica de Buenos Aires y presuntamente sufría de varias enfermedades.

Argentine singer Mercedes Sosa died at a Buenos Aires clinic and had reportedly suffered from several ailments. La cantante argentina Mercedes Sosa murió en una clínica de Buenos Aires y presuntamente sufría de varias enfermedades.

"On this day, in the city of Buenos Aires, Argentina, we must inform you that Mrs. Mercedes Sosa, one of the greatest artists of Latin American popular music, has left us," the Web site said. "En este día, en la ciudad de Buenos Aires, Argentina, debemos informar que la señora Mercedes Sosa, uno de los más grandes artistas de la música latinoamericana popular, ha dejado a nosotros", añadió el portal.

Sosa died at a Buenos Aires clinic, and had suffered from liver, kidney and heart ailments, the Washington Post reported. Sosa murió en una clínica de Buenos Aires, y había sufrido de hígado, los riñones y enfermedades del corazón, informó el Washington Post.

Born on July 9, 1935, in San Miguel de Tucuman, Argentina, Sosa produced 40 albums during her musical career, and performed at places such as the Sistine Chapel at the Vatican and New York's Carnegie Hall. Nacido el 9 de julio de 1935, en San Miguel de Tucumán, Argentina, Sosa producido 40 álbumes durante su carrera musical, y actuó en lugares como la Capilla Sixtina en el Vaticano y el Carnegie Hall de Nueva York. She also served as a UNICEF goodwill ambassador for Latin America. También sirvió como Embajador de Buena Voluntad del UNICEF para América Latina.

"Her voice always carried a profound message of social engagement through folk-roots music, without prejudice," according to the Web site. "Su voz siempre se lleva a un profundo mensaje de compromiso social a través de raíces de la música popular, sin perjuicio", según el sitio Web.

She formed part of the New Song movement in Latin America , which combined folk song traditions with contemporary music that often featured political messages in its lyrics. Ella formó parte del movimiento de nueva canción en América Latina, que combina las tradiciones canción popular con la música contemporánea que a menudo incluían mensajes políticos en sus letras.

When a military junta took over Argentina in 1976, many of her albums were banned, and Sosa left in exile to Paris, France, and Madrid, Spain. Cuando una junta militar se hizo cargo de Argentina en 1976, muchos de sus discos fueron prohibidos, y Sosa a la izquierda en el exilio en París, Francia, y Madrid, España. She returned to her homeland in 1982. Regresó a su patria en 1982.

Sosa won various Latin Grammy awards. Sosa ganó varios premios Grammy Latinos. Her most recent nomination came last year for her latest album, "Cantora 1." Su nominación más reciente fue el año pasado por su último álbum, "Cantora 1."

She was known throughout Latin America and Europe, with one of her most popular songs titled "Gracias a la Vida," the Web site said. Ella era conocida en toda América Latina y Europa, con una de sus canciones más populares, titulado "Gracias a la vida", el sitio de la internet.

"Her undeniable talent, her honesty and her deep convictions left a tremendous legacy for future generations. Admired and respected throughout the world, Mercedes is recognized as a symbol of our cultural heritage that will represent us forever," the Web site said. "Su talento innegable, su honestidad y sus convicciones profundas dejado un enorme legado para las generaciones futuras. Admirado y respetado en todo el mundo, Mercedes es reconocido como un símbolo de nuestro patrimonio cultural que nos va a representar para siempre", añadió el portal.

"She lived her 74 years to the fullest," Sosa's son, Fabian Matus, said. "Vivió sus 74 años al máximo," hijo de Sosa, Fabián Matus, dijo. "She had done practically everything she wanted, she didn't have any type of barrier or any type of fear that limited her." "Ella había hecho prácticamente todo lo que quería, no tenía ningún tipo de barrera o cualquier tipo de temor a que su limitado".
ALBUM REVIEW: Mercedes Sosa - 30 Años (1993)

Posted by admin on 23rd Jan 2010

Years ago wandering through an Art market in Buenos Aires I asked a friend to recommend a CD that would be a good introduction to Argentinian music. After making our way to a music store, this CD, "30 Anos" was handed to me. It was the first time I'd heard of the singer called Mercedes Sosa.
Mercedes Sosa is arguably Argentina's greatest and most prolific recording artist of all time. There are many CD collections of her music and it would be difficult to recommend one above the other, but "30 Anos" is a nice introduction to her music that stretches back to the early 1960s. The CD was first released in the mid 1990s. My copy unfortunately did not contain the lyrics.

For many years Mercedes Sosa was known as "the voice of the silent majority" in Latin America. In her native Argentina her music is still seen as being a "symbol of life and freedom." After humble beginnings growing up in San Miguel de Tucuman, Mercedes Sosa, alongside her husband Manuel Oscar Matus and the poet Armando Tejada Gomez, was to become one of the leading lights in a movement devoted to traditional folk music and dance - the so-called "Movimiento del Nuevo Cancionero" or "New Song" movement. She was joined by other famous Latin American artists such as Violetta Parra and Atahualpa Yupanqui. There are two beautiful songs on the CD that were composed by Yupanqui: 'Luna Tucumana' and 'Duerme Negrito'. Probably the most famous song on the album - 'Gracias a la Vida'
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(Thanks to life) comes from the pen of the Chilean singer Violetta Parra. The song was released on his last album - Las Últimas Composiciones (1966) before he committed suicide in 1967. It is one of the most covered Latin American songs in history.

The "Nuevo Cancionero" movement took the form of protest music that spread throughout Argentina and Chile during the 1960s. Through her music Mercedes Sosa ultimately served as a political figurehead and spokesperson for poor Argentinians. She was not shy from criticising the military dictatorship and its political oppression of opponents. Not surprisingly with her repertoire of songs promoting human rights and democracy, Sosa was seen as a threat to Argentina's military regime. By the late 60s many of her songs were banned from the radio. The "Nuevo Cancionero" movement disintegrated in 1973 shortly after the democratically-elected Chilean President Salvador Allende was assassinated during the infamous CIA-backed coup.
In 1979 whilst giving a concert in La Plata, Sosa was arrested on stage along with 350 members of the audience. Such harassment and subsequent numerous death threats forced her into European exile. But this did not stop her singing and she continued to give performances on tours across Europe, North America and Brazil. While residing in Europe, she became an inspiration for musicians and singers from around the world. This period also encouraged her to broaden her repertoire by moving into new genres. On this CD you will hear famous songs written by the Cuban singer-songwriter Silvio Rodriguez (La Maza, Unicornio), the Brazilain singer songwriter Milton Nascimento (Maria Maria), Pablo Milanés (Años), León Gieco (Solo Le Pido A Dios, Cancion Para Carito) and Fito Páez (Dale Alegria A Mi Corazon).

Mercedes Sosa returned to Argentina in 1982 several months before the military regime collapsed on account of its catastrophic invasion of the Falklands (Malvinas) and subsequent war with the British. She gave a series of famous concerts at the Opera Theatre in Buenos Aires. This CD includes a famous live performance of a song that was to become associated with this period. The poignant lyrics and melody of 'Solo le Pido a Dios' written by León Gieco became especially famous during the Falklands (Malvinas) war. But the song's original reference was to the suffering of the Argentinian people during the military regime: "The only thing I ask of God is that I do not become indifferent to war and the suffering of innocent people". Another song with a similar theme is Charly Garcia's "Inconciente Colectivo". It was written around this time and also seems to refer to the military terror when people were made to "disappear".
There are some truly great songs on this album. It's difficult to choose stand-out tracks. All the songs exude quality. "My least favourite is Nascimento's "Maria Maria" - a Brazilian song that I've never really liked and for me it is strongly associated with a different culture and style. All the other songs though are pure gems. The powerful Latin Folk rendition of the opening track "La Maza" immediately takes you to another world. The breathtaking and heartfelt performance of the famous "Gracias a la Vida" is, like many if the songs, beautifully accompanied by acoustic guitar. On the rhythmic "Todo Cambia" you'll here the pan pipe music of the Andes. "Cancion Para Carito" perhaps possesses the sweetest melody on the album; "Alfonsina y el Mar" is one of the few songs to have a solo piano accompaniment. An acoustic sound is always prevalent on the album and from time to time in some tracks you'll hear intermittent background percussion, but the focus is always on Sosa's dynamic voice and vocal range.

The CD includes six live tracks in all: the aforementioned "Solo Le Pido A Dios" and "Inconciente Colectivo"; the romantic ballad "Maria Va" sung alongside the author Antonio Tarragó Ros; "Como La Cigarra" (Like the Cicada) is a protest song written by María Elena Walsh in the early 70s; "Si Se Calla el Cantor" is another duet sung alongside Horacio Guarany. One of her most famous songs "Años" is a passionately performed song about nostalgia, reflection and time passing. It is another live track but this is not mentioned on the sleeve.
30 Anos" presents a repertoire of classic songs from the roots of Argentine folk music to more contemporary compositions that form the soundtrack of Argentina's recent political struggles. This CD will allow you to hear Sosa's powerful and unstrained voice. With its extensive vocal range exuding expressiveness, colour and warmth - hers is perhaps one of the greatest voices of Argentinian music. Her songs are often simple compositions in which the penetrating clarity of her voice is accompanied by the sound of a single acoustic guitar, piano or mouth organ. You do not need to understand Spanish in order to admire and enjoy the power and emotion of Sosa's performances for she always sings from the heart. Mercedes Sosa is a dynamic and inspiring performer. Her music also sends a message that calls for peace, tolerance and understanding throughout the world.

Tracks:
1. La Maza
2. Maria Maria
3. Gracias A La Vida
4. Todo Cambia
5. Solo Le Pido A Dios
6. Cancion Con Todos
7. Anos
8. Alfonsina Y El Mar
9. Maria Va
10. Unicornio
11. Cancion Para Carito
12. Luna Tucumana
13. Hermano Dame Tu Mano
14. Como La Cigarra
15. Si Se Calla El Cantor
16. Inconciente Colectivo
17. La Arenosa
18. Duerme Negrito
19. Al Jardin De La Republica
20. Dale Alegria A Mi Corazon
Mercedes Sosa Article

Posted by admin on 15th Jan 2010

BUENOS AIRES (Reuters) - Argentine folk accompanist Mercedes Sosa, who fought South America's dictators with her articulation and became a behemothic of abreast Latin American music, died on Sunday at age 74, her ancestors said in a statement.

Argentina's "voice for the blurred ones" anesthetized abroad on Sunday, and the country's National Congress declared three canicule of aching with flags to be aureate at bisected mast on accessible buildings. This is the ability of music. This is the ability of accurate "folk singing." Mercedes Sosa was the a lot of admired Latin-American accompanist of her generation; "La Negra" championed the rights of the poor, the abandoned and the dispossessed. To appearance her performances is to be adapted and transported and to apprehend the ascendancy of truth. Sosa fought oppression, brutality, lies, and absolutism with a articulation that was able and a personality that was after artifice.

Sosa had been in accelerated affliction in a hospital for canicule with branch problems. Her physique was taken to the Congress architecture in Buenos Aires for accessible appearance Sunday afternoon and her charcoal were to be cremated on Monday, bounded media reported.

Known affectionately as La Negra -- 'the Black One' due to her aphotic hair and derma -- Sosa was dubbed "the articulation of the bashful majority" for advancement the poor and angry for political freedom.

Her adaptation of Violeta Parra's "Gracias a la Vida" ("Thanks to Life") became an canticle for leftists about the apple in the 1970s and 1980s if she was affected into banishment and her recordings were banned.

"Her acknowledged talent, her bluntness and her abstruse aesthetics leave a abundant bequest to approaching generations," her ancestors said in the account acquaint on her Web site.

The across of her able articulation becoming her acclamation away and acceptance at home and she cut a arresting amount with her connected hair and brand ponchos at reside shows into her 70s.

In the agitated 1960s and 1970s Sosa was a key backer of the awful politicized Nuevo Cancionero (New Song) movement, which approved to yield folk music aback to its roots.

She aswell was a affiliate of the Communist Party and her political sympathies admiring absorption from the authorities during Argentina's blood-soaked 1976-83 dictatorship, if up to 30,000 humans were dead in a crackdown on advocate dissent.

State censors banned her songs and she fled to Europe in 1979 afterwards accepting arrested in the average of a concert forth with the absolute admirers in the university city-limits of La Plata.

She frequently asserted herself as a woman of the larboard but maintained that her alone accurate vocation was singing.

"Really, I was built-in to sing," she said in a annual account in 2005. "My activity is committed to singing, award songs and singing them.

"If I get myself complex in politics, I'd accept to carelessness what's a lot of important to me, the folk song."

ROOTS

Sosa hailed from a banal ancestors in the poor sugar-growing arena of Tucuman, accepting her aboriginal aftertaste of acclaim if she won a bounded radio aptitude appearance at the age of 15.

A specialist in interpreting added people's songs, she accepted the balladry of Argentina and Latin America. While she dabbled in bedrock and tango in after years, her roots were consistently in folk music.

Several months afore the aggressive absolutism invaded the British-ruled Falkland Islands in 1982, Sosa alternate to her citizenry to acquisition that her songs had won her a new, adolescent bearing of fans.

At a cord of improvement concerts she sang with advancing stars of accepted Argentine music, including Leon Gieco and Charly Garcia, and toured abundantly in Europe, Brazil and the United States. She accustomed a 10-minute continuing acclaim during a achievement at New York's Carnegie Hall.

Sosa connected singing up until this year and remained badly popular, outselling accepted boyhood artists and reggaeton singers in the top charts.

Her endure album, "Cantora 1 and 2," a accord with Shakira, Caetano Veloso, Jorge Drexler and added artists, was one of the top 10 best affairs albums of the year, and she has been nominated for several Latin Grammys this year. The winners will be appear in November.

During her career, Sosa accustomed a cord of all-embracing accolades that accustomed her aegis of women's rights, including several Latin Grammys and the CIM-UNESCO prize, with board praising her "great ethical and moral values" and "her connected aegis of animal rights."

In poor bloom for several years, Sosa alternate to the accessible date with a new anthology in 2005.

"I'm not adolescent or beautiful, but I've got my articulation and the body that comes out in my voice," she said in a bi-weekly account in 2001.

PS: Please sorry my bad english. Thanks.
MERCEDES SOSA AND HER SONGS

Posted by admin on 12th Jan 2010

Fair or not, important artists in Latin America are accepted to aswell be allotment philosopher, allotment announcer and allotment politician. Few accept agitated this accountability with the adroitness and capability of Argentine accompanist Mercedes Sosa.

Remarkably, she has managed to become an figure and break animate as an artist. Judging by her appearance bygone in foreground of a thousand-plus admirers at a sold-out Kresge Auditorium, she is still growing, she's still arduous and -- at her best -- she can be one of the a lot of moving, able accepted choir in the apple today.

PS: Please sorry my bad english. Thanks.
Gracias a la vida

Posted by Wikipedia on 4th Jan 2010

En la primavera de año 1969 realizó su primera presentación en Chile. Simultáneamente grabó un disco simple totalmente dedicado a autores chilenos: en el lado A, Gracias a la vida de Violeta Parra, y en el lado B, Te recuerdo Amanda de Víctor Jara.

En 1971, en coincidencia con el gobierno de Salvador Allende en Chile, grabó uno de sus álbumes más destacados, Homenaje a Violeta Parra, en tributo a la cantautora chilena, donde vuelve a incluir Gracias a la vida y otros temas como Volver a los 17 y La carta -con Quilapayún-, alcanzando un notable éxito en toda América Latina. Se trata de uno de sus mejores discos y de una interpretación consagratoria tanto para el canto de Mercedes Sosa, como para las canciones de Violeta Parra. El álbum se inicia con un recitado de fragmentos del poema Defensa de Violeta Parra, que su hermano Nicanor Parra le escribiera al morir. Sorprendentemente, Mercedes moriría un 4 de octubre, día de nacimiento de Violeta. Isabel Parra, hija de Violeta y notable cantautora ella misma, ha dicho que siempre le "pareció natural que Mercedes cantara a Violeta porque Violeta hubiera hecho lo mismo con Mercedes. Se hubieran querido y se hubieran entendido y se hubieran digamos regocijado una a otra de lo que significa meterse en el arte popular y en el canto comprometido, en el canto revolucionario".
Mercedes Sosa en la portada del álbum Hasta la victoria (1972).

En 1972 lanza Hasta la victoria, con temas como Balderrama y La arenosa, de Leguizamón y Castilla y Los hermanos de Yupanqui.

En 1973 se produce el golpe de estado de Augusto Pinochet en Chile y Mercedes Sosa jura no cantar en ese país mientras la dictadura permanezca en el poder. Ese año saca el álbum Traigo un pueblo en mi voz, con temas como Cuando tenga la tierra de Daniel Toro y Ariel Petrocelli, Triunfo agrario de César Isella y Armando Tejada Gómez, Si un hijo quieren de mí de Ariel Ramírez y Juan L. Ortíz, y dos poemas musicalizados del poeta peruano César Vallejo.

En 1974 la cantante de protesta estadounidense Joan Baez visita la Argentina y en su recital canta, a dúo con Mercedes Sosa, Gracias a la vida. Ese año Baez había publicado un álbum en español titulado precisamente Gracias a la vida, canción que conoció por la versión de Mercedes, de 1971, y que popularizó entre el público de habla inglesa.

En 1975 publica el álbum A que florezca mi pueblo donde incluye Chacarera de un triste ("Para qué quiero vivir con el corazón deshecho...") de los Hermanos Simón, Cuando estoy triste ("Cuando estoy triste lijo mi cajita de música...), un poema de José Pedroni musicalizado por Damián Sánchez y Se equivocó la paloma, un poema de Rafael Alberti musicalizado por Carlos Guastavino en 1941. Ese mismo año realiza su primera actuación en España, durante la dictadura franquista, en un recital realizado en el Palacio de los Deportes de Barcelona, del que el gobierno prohibió que se realizara publicidad. Pese a ello el lugar se colmó y la gente coreó sus canciones, hasta el punto de conmoverla y hacerla llorar de emoción.
CD Review: “Cantora” Mercedes Sosa

Posted by Fernando Gonzalez on 27th Dec 2009

It’s perhaps fitting that Cantora, simply woman singer in Spanish, turns out to be the last recording by Argentine folk singer Mercedes Sosa, who died of kidney and liver failure, Sunday, October 4, at a clinic in Buenos Aires. She was 74.

Cantora is a disc of collaborations with a stellar roster of Latin music singer and songwriters, some young enough to be her grandsons and granddaughters, representing a broad musical spectrum including conventional pop and rock, but also alterna-folk and classic tango. The set up could suggest that Cantora is just another gimmicky “concept” disc, trading on brand names, searching for that mythical wider audience. If it’s not, it’s because, well, it rings musically true.

For starters, Sosa sings Sosa. Her voice might not be as strong, but it MERCEDES SOSAremains an admirable instrument, rich, powerful but also malleable, still stunningly expressive. Her vibrato has grown wider with age but she uses it with restrain. There is almost an audible affection and admiration in the work of her collaborators (some of whom were not even in the same studio with her) and it’s all warm and fuzzy, but the arrangement is clear enough — it’s their move. It’s up to them to stay true to their own style and still keep up and blend with Sosa – and to their credit, most do.

Also, musically Cantora succeeds because it stays true to Sosa and coherently close to folk music throughout. And while it includes songs in traditional folk styles, it also acknowledges other, newer, popular genres such as rap and cumbia villera, a take on cumbia that emerged in the shantytowns of Buenos Aires, as if suggesting that this might be today’s folk music. It´s a subtle but powerful statement — and one that fits Sosa´s character and extraordinary career.

Sosa was born in poverty, her father a day laborer, her mother a washer woman, in Tucumán, a province in northwest Argentina, on July 9, 1935. At 15, she won an amateur-hour contest sponsored by a local radio with a two month contract for appearances as its grand prize. It turned out to be the start of her career.

By the late 50s she had moved on from traditional folk and embraced the Movimiento del Nuevo Cancionero, a fledging movement with a new approach to folk music that updated the standard folk lyrics to sing about the plight of the poor and disenfranchised. This, naturally, led her in time to champion the Nueva Canción (New Song), a movement in Latin America in the 60s that blended traditional rhythms and lyrics addressing social and political concerns. This became a deadly serious business in Latin America in the 70s, as ruthless military dictatorships took power. Sosa was detained and body searched on stage at a concert in 1979. Many in the audience were detained. In the following weeks, her concerts were cancelled after anonymous bomb threats were called in. And while there was no cause open against Sosa, her songs were banned on the radio and she was prohibited from performing.

Understandably feeling persecuted and unable to make a living, Sosa left in self imposed exile to France and Spain.

She returned to Argentina in 1982, just as the military dictatorship was beginning to disintegrate. (In fact, in retrospect, Sosa´s epochal 13-night comeback stand at the Opera Theatre in Buenos Aires, captured on the disc Mercedes Sosa en Argentina, was in itself a measure of the increasing weakness of the regime.)

Sosa had been an international artist, performing in the United States and Europe, since the 1960s, but in her condition as an exile she transcended her role as a folk singer and became a symbol of resistance and the struggle for human rights. It was a heavy mantle that she carried effectively – while also making clear to whoever wanted to listen that she was an artist first.

“Sometimes, one is made to be a big mouth or some sort of Robin Hood and it’s not like that,” she once told me, in the 90s, with an edge of frustration in her voice. “I am a woman who sings, who tries to sing as well as possible with the best songs available. I was bestowed this role as big protester and it’s not like that at all. I’m just a thinking artist.”

And being a “thinking artist” for Sosa not only meant singing questioning lyrics, but also opening up her musical world.

Since her return to Argentina and for the past 20 years, rather than basking on the warm glow of her status and playing it safe musically, Sosa increasingly crossed over stylistic boundaries, taking a Pan-Ibero-American approach. She would still sing Argentine folk music and remain true to her Nuevo Cancionero roots, but also integrate music by Brazilian artists such as Milton Nascimento, Caetano Veloso and Chico Buarque; Spanish singer songwriter Joan Manuel Serrat and rocker Joaquin Sabina. And in Argentina, where the music communities long lived in parallel worlds that rarely acknowledged, much less addressed, each other, Sosa seemed to make a point of ignoring stylistic boundaries. She worked with neo-folk singers such as Leon Gieco (a Bob Dylan-like figure) but also recalcitrant rockers such as Charly Garcia, pop rockers such as Fito Páez and new tango stalwarts such as bandoneonist Rodolfo Mederos. And it wasn’t just big names but also up-and-coming songwriters, playing sort of fairy godmother by calling attention to their work, giving them, in a word, her blessing.

Mercedes Sosa CDWhich brings us back to Cantora, which includes collaborations with old friends such as Serrat, García, Spinetta and Paez, but also Shakira, Gustavo Cerati, René Perez (Calle13), Lila Downs, Julieta Venegas and Franco De Vita, as well. (This is, by the way, an international edition of an original two-disc set released earlier this year in Argentina. Other artists from that collection who are not featured here include Pedro Aznar, Luis Salinas, Luciano Pereyra and Ruben Rada.)

Most of the songs were written by the guests, although there are also intriguing reprises. Some weak (Shakira over emotes her part in Silvio Rodriguez´s “La Maza”). More are exceptional such as the smart remaking of Victor Heredia´s “Canción Para un Niño en la Calle,” (Song for a street kid) by René Perez, who alternates his rapping with Sosa´s singing creating a truly touching counterpoint.

Nine, or exactly half, of the songs in the set feature strings arranged by long time Sosa’s pianist and musical director Popi Spatocco. And while the sound is lush and lustrous it also at times gets too precious, almost reverential and it covers the program with a certain melancholy. (Brazilian singer Daniela Mercury, even toned down from her usual high energy, hyperkinetic self to perform Chico Buarque’s “O Que Será,” comes as a welcome relief.)

Sosa sounds at ease with pop rockers Cerati, Garcia, Páez and Spinetta, but truly shines in her collaborations with Lila Downs (Heredia’s classic “Razón Para Vivir”) and Julieta Venegas (her own “Sabiéndose de los descalzos,” which could easily have been part of Sosa’s 70s repertoire). At the risk of reading too much into it, she sounds then as if passing the torch to a younger generation of folk singers, also reinterpreting their tradition to make it of their time.

Open minded, respectful of the past but decidedly forward looking, Cantora is a worthy finale for an extraordinary career.

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