Latin America

Anacaona Areito de Anacaona ‘Golden Flower’

Anacaona was the last princess of the Caribbean and protector of the Taino people.

“Anacaona, areito de Anacaona”, sang Cheo Feliciano before a heated crowd at the Cheetah club in New York late on 26 August 26, 1971.

It has been more than 50 years have passed and the chorus from the pen of Tite Curet Alonso resounds as if it were yesterday. But who was Anacaona?

Anacaona or Anakaona. (1474-1503)1 was an aboriginal Taino chieftain of Bohío Island. She governed the Cacicazgo of Jaragua after the death of her brother Bohechío. She was condemned to be hanged by Governor Nicolás de Ovando.

Anacaona means ‘Golden Flower’ in the Taino language. She was a Haitian princess of Taino origin who was born in the year 1474 at Bohío, as it was dubbed by its inhabitants and then divided into two Caribbean countries: the Dominican Republic and Haiti.

Anacaona was the last princess of the Caribbean and protector of the Taino people. — Anacaona Areito de Anacaona

After the death of her brother Bohechío, Anacaona would take over as cacique to rule the Chiefdom of Jaragua. She had a natural talent for poems, which she sang in the areitos, dances, and songs with which the Taino Indians celebrated their festivities and religious rites.

Anacaona received Christopher Columbus on his first voyage at Christmas 1492. She felt admiration for the new knowledge and skills of these people to solve day-to-day challenges.

Those led by Columbus established a settlement in the new territory, which they called Christmas Town. It is said that this was the first building of the Spaniards in America.

But harmony would not last for long. The abuse on the natives began, especially women who were mistreated and raped without hesitation.

Anacaona would not accept the oppressive tyranny and persuaded Caonabo, her husband, to destroy the settlement where the invaders were based.

Anacaona in the Taino language means 'Golden Flower'. She was a Haitian princess of Taino race who was born in the year 1474 on Bohío Island, as its first inhabitants baptized it and which would later be divided into two Caribbean countries: the Dominican Republic and Haiti. — Anacaona was the last princess of the Caribbean and protector of the Taino people.

Christopher Columbus left the territory and, upon return in November 1493, he found Christmas Town destroyed and its more than 43 men killed. It was an affront. Anacaona escaped and became an Indian of a captive race, as the song goes. But her freedom would not last long. After an intense search, she was captured and bound to hang in 1504.

The Tite Curet Alonso’s ‘Anacaona’

Tite Curet Alonso composed ‘Anacaona’ without knowing who she was. The song written from one day to the next would be included in the album “Cheo” (1971) of Vaya Records. The label sought to re-launch Feliciano’s musical career, who had stayed away from the stage as a result of the rehabilitation for his drug addiction.

In an interview posted on Youtube, Tite says that he was inspired by a Lecuona Cuban Boys orchestra’s song (recorded in the 1930s) and baptized it with that name in honor of the Cuban girl group Anacaona.

After the death of her brother Bohechío, Anacaona took over as caciqueca, governing the Cacicazgo de Jaragua. She had a natural talent for poetry, which she sang in the areitos, dances and songs with which the Taino Indians celebrated their festivities and religious rites. — Anacaona or Anakaona. (1474-1503) was an aboriginal Taino chieftain of Bohío Island.

He says he tried to “make up a mystical story” about Spanish and Indian slaves. When composing, Curet did not know he was telling the true story of the Haitian princess who fought against the Spaniards in the early years of the discovery of America.

After the release of the album was released, which was well received by the public, Curet visited a priestess who knew the life of Anacaona and had heard the song in the voice of Cheo Feliciano. After knowing the story, Tite was greatly impressed.

The woman informed the composer that it was the Taíno ancestors who inspired his pen in each verse.

“But how is it possible that you wrote that song? Now you have to make a song for Caonabo and I will tell you why: because from a certain generation upwards, you are a descendant of Caonabo and Anacaona”, said the priestess.

It did not take long for Tire Curet to publish his tribute to ‘Caonabo’, the Indian fighter who, like his wife Anacaona, fought against Spanish oppression. The song was included in his production as a singer-songwriter entitled “Aquí estoy con un poco de algo” (1975).

The Cheetah concert on August 26, 1971, gave rise to the salsa boom and allowed several young talents to make history. Moreover, it opened the way for composers like Tire Curet Alonso, who with songs like ‘Anacaona’, created the soundtrack of Latin American soul.

Images courtesy of Museo Taino Anacaona

https://www.museoanacaona.com/

Dominican Republic

Let us remember the Puerto Rican Catalino Curet Alonso.

Biography

By: Héctor Valor Fernández correspondent from Caracas, Venezuela

Catalino “Tite” Curet Alonso was born in the town of Guayama, Puerto Rico on February 12, 1926, the son of an orchestra musician and a seamstress. He was just two years old when his parents separated; his mother and sister moved to Barrio Obrero, Santurce, with his grandmother, who was responsible for his upbringing. He also received his primary and secondary education.

Photo of the Puerto Rican composer Catalino Curet Alonso

Life in the neighborhood and his experiences there influenced his music. He studied music theory and solfeggio with professor Jorge Rubián, at the same time as growing up with other Latin music great legends such as Rafael Cortijo, Ismael Rivera, and Daniel Santos.

After graduating from high school, he began studying journalism and sociology at the University of Puerto Rico. For more than 20 he worked for the U.S. Postal Service and, at the same time, he was composing songs. In 1960 he moved to New York City, where he worked for the newspaper “La Prensa” as a sports journalist.

In 1965, Alonso met percussionist and salsa singer Joe Quijano, who committed one of his compositions entitled “Efectivamente” to record for the first time. In 1968 and 1969 he composed songs expressly for La Lupe such as “Carcajada final”, “Puro teatro”, and “La Tirana”.

In the early 1970s, “Tite” got into the salsa movement led by the label of Fania Records in which he became the composer of the greatest classics of the genre.

Alonso composed more than two thousand songs, such as “Anacaona”, “Periódico de ayer”, “Lamento de Concepción”, “Las Caras lindas”, “Juan Albañil”, “Mi triste problema”, “Tiemblas”, “Plantación Adentro”, “De todas maneras rosas”, “Marejada feliz”, among many others.

Alonso’s compositions were interpreted by the greatest singers and groups in the Latin American music industry: Joe Quijano, Cheo Feliciano, Celia Cruz, La Lupe, Willie Colón, Tito Rodríguez, Héctor Lavoe, Ray Barretto, Tito Puente, Ismael Miranda, Roberto Roena, Bobby Valentin, Marvin Santiago, Justo Betancourt, Willie Rosario, Pete “Conde” Rodríguez, Andy Montañez, Rafael Cortijo, Tommy Olivencia, Frankie Ruiz, Rubén Blades, among others. Tite” Curet Alonso is considered the most important composer of salsa music in his country and Latin America of the 20th century.

Catalino Curet Alonso left a son, Eduardo, and a daughter, Ilda, as well as several grandchildren. He maintained a fruitful loving relationship with Norma Salazar, an excellent Puerto Rican exponent dedicated to working with children, literary work, craftsmanship, and dance with traditional Puerto Rican rhythms.

She knew quite a lot about Tite’s efforts because she knew full well that beneath that face, that unbreakable smile, and that ever-present hat, there was a man permeated by great emotions, a loving discourse with a political edge, and she kept vigil with a man responsible for his work.

Catalino Curet Alonso died in Baltimore, Maryland, U.S., on August 5, 2003, at the age of 77, as a consequence of respiratory involvement which caused him a heart attack.

His remains rest in the Santa María Magdalena cementery of La Perla in Viejo San Juan. “La Perla, where patriots are buried”. His tomb is close to those of Rafael Hernández, Pedro Flores, and Daniel Santos.

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Anacaona The Cuban Female Orchestra

It was founded on February 19th, 1932 by Concepción Castro Zaldarriaga and her sisters, being the first son female Sextet and expanded to the jazz band and typical charanga format in 1934 and projected onto the world from the famous “Aires libres of the Hotel Saratoga” at the Prado of Havana.

These talented women toured the entire length of America from north to south, the Caribbean and France between the 1940s and 1960s.

In Mexico, one of the most visited countries by the Orchestra at this stage, their images and sounds were recorded in some Mexican films, such as: “La noche es nuestra”, “No niego mi pasado” and “Mujeres de teatro” that they alternated with film and music artists from that country. At the same time, they recorded for the record label RCA Victor.

Anacaona The Cuban Female Orchestra It was founded on February 19th, 1932 by Concepción Castro Zaldarriaga and her sisters — Anacaona The Cuban Female Orchestra

THE AGUIRRE

Sisters Georgia and Dora Aguirre, who have a strong background playing contrabass and saxophone and were new graduates from the “Amadeo Roldan” Conservatory, joined the Anacaona Orchestra with its founders from the 1983 under the direction of Alicia Castro, with whom they learned the most genuine genres of Cuban popular music, rigor and discipline in this profession.

3rd GENERATION

With the Castro sisters’ retirement in December 1987, Georgia Aguirre asumed the direction of the orchestra and continued the work of its founders with her sister and other young women graduates in music schools, consolidating a style that combines tradition with modernity in order to preserve and enlarge the history of Anacaona.

Sisters Georgia and Dora Aguirre, with a solid musical training in the specialties of double bass and saxophone, recently graduated from the "Amadeo Roldán" Conservatory of Music. — Anacaona La Orquesta Femenina de CUBA Between the 1940s and 1960s, these talented women toured all of North and South America, the Caribbean and France.

TOURS

At international level, they have traveled to more than 30 countries in Europe, Asia, Africa, America and the Caribbean to perform at important festivals and multiple scenarios including: The 34-city tour in China; their participation in the theater play “The Tropical Bourgeois” under the direction of Gerome Sabarí and inspired by Moliere’s classic, “Le bourgeois gentilhomme”; the tour round some US cities in which they also had an emotional meeting with Graciela Pérez, singer and founder of Anacaona and the show “Sabor de la Habana” that opened the season of Cuban shows at the Cabaret of the Grand Casino Monte Carlo from the Principality of Monaco and other important jazz and summer festivals in Spain, Germany, Belgium, Sweden, Holland, Canada, Jamaica, Aruba, Curaçao, French Guiana, Guadeloupe, Martinique, St. Lucia, Peru, Honduras, Venezuela, Mexico, among others.

TRAYECTORY

The orchestra has also participated in several films such as “La Bella de la Alhambra” by director Enrique Pineda Barnett, “Vidas Paralelas” by Pastor Vega, the Cuban-Swiss co-production, “Barrio Negro”, as well as the documentaries “La ruta del ritmo” by director Harry Belafonte, “Anacaona, 70 Años después” by director Jorge Aguirre and produced by Cuban Television, and the documentary “El mundo cantan el mundo baila” about the history of Cuban music produced by NHK from Japan.

LATEST NEWS

In recent years, they have recorded 8 albums with the labels PM Record, LUSAFRICA, BISMUSIC and COLIBRI and have been invited to productions from other labels such as DISMEDI-Spain in Volume ll of “Cuba le canta a Serrat” and with the English producer Kenny Young to perform two classic theme songs of Anglo-Saxon music set to Cuban rhythms.

In Cuba, it performs in popular dance music main stages, cultural events, national tours, festivals and Cuban radio and television programmes with a great gathering and the public and critical acceptance.

At present, it is integrated by 14 women who cultivate Cuban popular music, merging the most traditional rhythms with a contemporary sonorite. The musicians, also known as “Las Mulatísimas del Sabor”, have achieved a seal that distinguishes them and are appreciated by critics and dancers from all over Cuba and other countries.

ANACAONA, with more than 85 years of uninterrupted work, is among the top-level groups of Cuban popular music and considered “The Distinguised Cuban Female Orchestra”.

RAIDER TECHNICAL

– YAMAHA or Peavy Drum

(’10, ’12, ’14, ’22) with stool.

-Timbal LP (’14 and ’15) with stand.

-LP Congas (’12 and ’13) with stand.

-Bongó LP with stand.

-ROLAND RD 700 or ROLAND RD 500 piano with stand.

-Korg Trinity keyboard.

-Baby Bass, AMPEG or similar with stand.

-Peavy, Tracy Elliot bass amp, or similar for Baby 400w (minimum) Bass and Electric Bass.

-Digital mixing console with 32 channels for living room with splitter and connectors (Yamaha).

-MCL7, CL5, LS9, Soundcraf Expression Si3 or similar).

-7 Music stands.

MICROPHONICS

-1 Shure Beta 52 AKG 112 (Bass Drum)

-6 Shure SM 57 or similar (Brass)

-8 Senheiser 421 or SM 98 H or similar (Percussion)

-3 Condenser SM 81 (Over)

-6 Shure SM 58 or SM 87 (Vocals)

-6 Direct Box (Piano, Bass, Keyboard, Tres)

Each microphone with its stand and corresponding lines.

MONITORING

-1 Mixing console with 32 reference channels with 8 sends and splitter.

-5 floor monitors for vocals.

-2 Brass monitors.

-1 Tres and guitar monitor.

-1 Piano monitor.

-2 Drum monitors.

-1 Drum Field.

* Kilos of Power and Monitoring will be adjustable according to the to the conditions of the place, depending on whether they are indoor or outdoor stages.

ANACAONA THE CUBAN FEMALE ORCHESTRA

Director: Georgia Aguirre

Email: [email protected]

FB/Orchestra Anacaona II

Recruitment agency: Artex’s Clave Cubana

Email: [email protected]

Manager: Leonardo Sintes

Email: [email protected]

FB/Orquesta Anacaona II

Cell phone number: 5 35 289 82 26

Email: [email protected]

ANACAONA, with more than 85 years of uninterrupted work, is one of the first level groups of Cuban popular music and is considered "The Insigne Female Orchestra of Cuba". — “Las Mulatísimas del Sabor”

Professor MSc. Carlos Colmenárez and his “WRITTEN SALSA”

By: Professor MSc. Carlos Colmenárez (Venezuela)

Greetings, dear and consistent readers of Salsa Escrita, from this server, your longtime friend, Professor MSc. Carlos Colmenárez. It is a great satisfaction for me to be able to reach all of you through International Salsa Magazine, to whom I am very grateful for your trust and thus be able to make known the Venezuelan salsa talent and also from other countries, where Afro-Latin music continues and will continue to be projected and promoted with much professionalism in its prestigious pages.

Salsa Escrita, in charge of this server, your friend of always, professor MSc. Carlos Colmenárez — Professor MSc. Carlos Colmenárez (Venezuela)

In this issue of Salsa Escrita, we bring you four exponents of Afro-Caribbean music, born in Venezuela, who exalt the genre with great class and success, earning the respect and admiration of all its followers. So, ladies and gentlemen, we present to you in special reviews Hildemaro “El Sonero del Amor”, Mariana “La Sonera de Venezuela”, Édgar “Dolor” Quijada and Héctor “Malecón”. We hope you enjoy the written interaction between you and International Salsa Magazine.

Hildemaro “The Sonero of Love”

On this occasion we will mention a vocalist who has stood out for his excellent interpretive quality and professionalism during his long and successful career, both in Venezuela and abroad; we refer to José Hildemaro Hugas Amarista, better known as Hildemaro “El Sonero del Amor”.

The Venezuelan singer-songwriter, born in Caripito, Monagas state, on November 10, 1957, told us that his musical interests came from a very young age, participating in festivals in his home state and musical groups in that locality, until he was presented with the opportunity to go to Caracas in 1976 and join the orchestra “Los Satélites”; Then in 1979 he joined the “Orquesta Ideal”; later he worked with the “Súper Combo los Tropicales”, “Noche Caliente” and the “Orquesta de Porfi Jiménez”; and finally in 1985 he joined Renato Capriles’ orchestra “Los Melódicos”, which gave him the greatest and best experience.

The following year,” Hildemaro continued, “he decided to definitely make his way as a salsa performer, recording his first LP under the TH label, thanks to his music producer, José “El Flaco” Bermúdez, and since then he has remained in his project of a fruitful singing career.

In 1988 he recorded his album “Amanecí contigo”, propelling it into the international market, hitting his songs with great acceptance, both in Venezuela and abroad, showing his face in the country as a salsa performer before the world.

Peru was his first point of attack, as well as the United States, and with that goal he was always renewing his repertoire. In 1989 he recorded the production “Sin Tabú”, winning a gold record and triumphing on stages in Panama, Mexico, Colombia and New York; In 1990 he recorded the acetate “Romántico y sensual”, with which he demonstrated once again that he has one of the best voices in Latin American and Caribbean salsa, qualities that were also captured in his 4th album entitled “Lo mejor de mi” in 1991, later in 1993 he released his 5th LP “Al natural”, two years later the long play “Lo que siento” in 1995 and in 1996 the album “La mejor salsa con Hildemaro”; In 2002 and 2003, he burst again into the radio stations nationally and internationally with 2 singles: “Corazón loco” and “El celular”, with which he once again demonstrated his great vocal capacity.

Among his best known hits are: The first time, Hola, Amanecí contigo, Desde el fondo de mi corazón, Negra, Agua caliente, Sin tabú, Al natural, Apago la luz, Como nadie, Cabalgaremos, Lucero and many more.

At the present time it comes from succeeding in Peru, Colombia, Spain, Italy and Sweden. In Venezuela she works with her own orchestra “Caripito all Stars”.

Finally she told us “El Sonero del Amor” that she registered her foundation “Hildemaro Hugas”, a non-profit organization to help children, elderly and people who deserve it.

By 2020, with God’s favor, he returns to the United States, where he is acclaimed by romantic dancers, just like in Peru, his second homeland. Hildemaro’s social networks are: Instagram @sonerodelamor, Facebook: José Hildemaro Hugas, phone: +58 412 2934606 and +58 416 0580079 for bookings.

Edgar “Dolor” Quijada

Édgar José Quijada, from January 23, Caracas. The man of "Pain", a name given to him by his brothers — Edgar “Dolor” Quijada

Sonero from A to Z, it’s that simple. Not everyone can be graded that way and not everyone has the privilege of being so. It is a title that must be achieved “on the go”, working very hard day and night. The “Masters” in sounding were Benny Moré and Ismael Rivera, to name the most significant.

In this regard, we must mention other vocalists of the stature of Cheo Feliciano, Gilberto Santa Rosa, Pete “El Conde” Rodriguez, Chamaco Ramirez and others of renown who took the baton; in the courtyard, Oscar D’Leon, Orlando Watussi, Mariana Guevara, Marcial Isturiz, Charlie Guzman, Ronald Gomez, among others, each with his own style and particularity. The one we will talk about today, has already occupied that place for years, I am referring to Edgar José Quijada, from January 23rd, Caracas. The man of “Pain”, an appellation given to him by his brothers.

In all his life he has not stopped singing and that comes from his mother. The trajectory of Édgar “Dolor” Quijada, born on March 21, 1954, dates from more than 40 years ago, since he began with the Yacambú Orchestra and later he was called to accompany national and international singers and to integrate orchestras such as: Década, Federico y su Combo, Los Incorregibles, Repicao, Soledad Bravo, Naty y su Orquesta, Guajeo, Cheo Feliciano, Celia Cruz, Johnny Pacheco, Pete “El Conde” Rodríguez, Adalberto Santiago, Ismael Miranda, Ismael Rivera, Larry Harlow, Héctor Lavoe and Justo Betancourt.

Since the founding of Cheo Navarro’s Orquesta Bailatino 23 years ago, he has been one of its performers along with Rónald Gómez and Francisco Rojas. His hits include: Mi vecina, Tengo la piel cansada de la tarde, A donde está Margot, Loco en la vía and many more. He is also the vocalist of El Guajeo de Alfredo Naranjo, Orquesta Tributo, Los 12 Apóstoles; as well as his solo performances in shows at the national and international level.

Finally, Edgar “Dolor” Quijada told us that he is currently based in Bogota, Colombia, with new musical projects. Social networks: Instagram @edgardolor; Facebook: Édgar Quijada, telephone for bookings: +57 301 6593904.

Hector “Malecon”

Héctor Luis Montes González, artistically known as “Héctor Malecón”, born on April 3, 1988 — Hector “Malecon”
of Barquisimeto

In Barquisimeto, a city known as the “Musical Capital of Venezuela”, there are musicians and vocalists of extraordinary quality, and on this occasion we will mention the singer, sonero and composer, Héctor Luis Montes González, known artistically as “Héctor Malecón”, born on April 3, 1988 and since his childhood he has lived in the El Malecón neighborhood of our twilight city; His musical beginnings were inspired by the composition of songs and by the mythical-religious influence, they motivated him to write and to interpret his first single titled “A la Reina”, in honor to María Lionza.

In April 2012, he decided to gather a group of young musicians from his neighborhood and formed a salsa group, calling it “Orquesta Malecón”, thus beginning his successful career with musical director César Salas and arranger Rubén Levy.

Some songs from their first recording production and authorship are A la Reina, Acepto mi error, Flor de mayo, Qué es lo que te pasa, Mejor plato, Castillo de arena y el Despojo; which you can enjoy on Youtube.

Likewise, he has shared the stage with the Lebrón Brothers, the Dimensión Latina, Bailatino, Orquesta La Salsa Mayor, Grupo Mango, Porfi Baloa y sus Adolescentes, Mariana La Sonera, Édgar “Dolor” Quijada, Hildemaro, Rónald Gómez, among others.

In 2016, he obtains the 1st place in the contest “Dile no a la Payola” of the PDVSA La Estancia Salsa Festival in Caracas and is later applauded by the Caracas salsa sovereign in the Diego Ibarra Square and El Poliedro.

Currently, Héctor Luis, becomes known with his project “Héctor Malecón” and from his own inspiration is promoted with his song “Quieres volver”, through @hectormalecon.

Finally, he declares that he was temporarily based in the city of El Callao, Peru, demonstrating his talent and affinity as lead vocalist of the orchestra “Son D’ Kalibre”, performing group songs and great salsa hits, under the direction of Rubén Medina and integrated by Venezuelan and Peruvian musicians.

At present, already in Barquisimeto, Venezuela, he has planned to structure his new orchestra, with new themes of his own inspiration, to put all salsa lovers to dance. His social networks are: Instagram @hectormalecon; Facebook: Héctor Malecón, for bookings by phone +58 412 7720290.

Mariana “La Sonera de Venezuela”

One of the most emblematic characters of Venezuelan salsa is Janett Guevara García, known artistically as Mariana “La Sonera de Venezuela”; she was born in Caracas and currently lives in La Guaira. Since she was a child she showed her taste for music; activity that has been her eternal passion and has led her to make 12 record productions.

Mariana started with Naty Martínez’s Orchestra and has been supported by the Fania Stars, José Alberto “El Canario”, the Gran Combo of Puerto Rico and her great friend Oscar D’León, who has advised and helped her so that, throughout her career, the responsibility of being the sonera of Venezuela falls on her.

Mariana has had the opportunity to alternate with groups of the stature of the Orquesta de La Luz, Grupo Niche, Guayacán, El Canario, Gran Combo de Puerto Rico and la Sonora Ponceña. Among her songs are: Frases hechas and Eres más fuerte que yo.

It is worth mentioning that, among the numerous recognitions received, he was awarded directly from Miami and presented in Caracas by Richard Roman and Nohemy Chavez, the “Salsa Superior” prize, which among those who have it, are Luigi Texidor, Roberto Roena, La Dimensión Latina and Rubén Blades, among other salsa figures. The sonera is worthy of this plaque thanks to God and her public who have supported her during her 30 year artistic career.

The “Sonera” is part of the orchestra “Rumberos del Callejón”, “Los 12 Apóstoles” and also has its own group. Incidentally, she was honored in the city of Barquisimeto in 2018 with the unveiling of a mural in her honor on Oscar D’Leon Boulevard.

She will soon be making musical tours throughout the country and abroad. Among his latest works, he recorded the song “Mulata guerrera”, by Puerto Rican composer Eduardo Zayas, included in the production “Entre Titanes”, which featured the participation of figures such as Marcial Istúriz, Rodrigo Mendoza, Édgar “Dolor” Quijada, Efrén Avellaneda, Noel Machado, Choco Orta, Yomar Méndez “Caballo”, Leo Pacheco Jr.

For hiring Mariana “La Sonera de Venezuela”, you can do it by: +58 414 2921521 y +58 416 0580079. Her social networks are: Instagram @sonsonera1, Facebook: Mariana La Soner

Yolanda Rivera The Lady of Salsa and the Sonera of Ponce

By: Diana Marie

Yolanda Rivera La Sonera of Ponce

Yolanda Rivera was born in Ponce, Puerto Rico on June 30, 1951, she admits to listening to Cuban music since the age of 8.

Her hometown of Ponce saw the Cuban singer Celeste Mendoza’s event that triggered in the young Yolanda her desire to sing.

Naturally, with an exceptional voice, she says she never took singing lessons. In her family everyone sang, without making it a profession.

had the opportunity to meet Quique Lucca-founder of the Ponceña who decided to recruit — in the 90’s she integrated for 3 years the Rubby Haddock Orchestra

She began her singing career in New York in 1969 as a member of Willie Rosario’s choir. Returning to Puerto Rico in 1975, she has joined the group Roberto y su Changó.

His real professional debut with the orchestra can be considered as the Terrífica. With this formation, in 1976 he recorded 33 tours: “sabor a pueblo” (int 908), where he sang the hit “mi corazón es para ti” and “Guaguancó No. 3” boleros “para que sufras” and “esta demás” on the same album “Pichie” Pérez is responsible for other pieces.

Unfortunately the episode was very brief due to disagreements within the group.

Naturally, with an exceptional voice, she says she never took singing lessons. In her family everyone sang, without making it a profession — Yolanda Rivera The Lady of Salsa

After a few months of unemployment, he had the opportunity to meet Quique Lucca-founder of the Ponceña who decided to recruit.

With them he recorded “Borinquen”, his favorite song. He stayed from 1977 to 1984, the time to record some albums and browse the scenes around the world, albums with this prestigious formation are:

“The Giant of the South” (Inca-1977-1054)

“Exploring” (inca-1978-1060);

“The orchestra of my land” (1978-inca-1064);

Compilation “Energized” (1979-1072-Inca)

“New heights (1980-inca-1074)

“Unchained force” (1980-inca-1077)

“Night Raider (1981-inca-1079)

“Determinación” (1982-inca-1080)

“Squeezing” (1983-inca-1089)

Yolanda Rivera was born in Ponce, Puerto Rico on June 30, 1951 — La Sonera of Ponce

Parallel to her career, Yolanda had to take care of her family, she will stay in Florida for five years, but not stop completely with the song, indeed it is a record with the noble strength of ensemble led by Gabino Pampini.

The return home was more difficult to revive the trade. only in the 90s she integrated for 3 years the Rubby Haddock orchestra where several records, since then she has worked regularly with Luigi Texidor .

From time to time she attended the anniversaries of the Ponceña:

Sonora Ponceña 30th anniversary golden age (inca 1992);

Sonora Ponceña 45th anniversary live: history and we continue to make, (bmg / ariola 81 167) 2000 (only appears on cd).

But she never returned because Ponceña Papo Lucca the beloved joins Luigi Texidor in his career as a soloist in the interpretation of the orchestra’s old hit.

She also participated in the album “Ray Barretto 50th Anniversary Live” where she sings “Nadie se salva de la Rumba” with Adalberto Santiago for the year 2001, a song included in the production Tremendo Trio with Celia Cruz, Ray Barretto and with Adalberto Santiago, for the year 1983 distributed by Fania Record.

"Nobody is saved from the Rumba" with Adalberto Santiago for the year 2001 — “Ray Barretto 50th Anniversary Live”

In February 2009, in Puerto Rico, Yolanda received the “Salsa Awards”, in recognition of her musical career.

That same year she participated once again in another event in La Ponceña, this time in the 55th anniversary of the Ponce giants.

The most recent musical production of the Dama de Ponce is a single titled “Yo no tengo marido” recorded in 2012.

The most recent musical production of the Dama de Ponce is a single titled "Yo no tengo esposo" recorded in 2012 — Congratulations to the Lady of Salsa Yolanda Rivera

Congratulations to the Lady of Salsa Yolanda Rivera

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