He said goodbye a few hours ago, on Tuesday morning, if Havana, at the age of 89; but she swore, in the midst of the illness that had kept her away from the stage in recent times, that she would continue to sing.
How not to believe in the word of Eladia of the Bald Charity Montalvo, which was Elita for its parents Carmen Teresa and Alfredo in the familiar sine of Suárez Saints, and definitively Bald Ela between the followers of its voice, between which they applauded their interpretations, between which they knew it in the first line of the defense of the Cuban song.
She sang and sings. If necessary, carefully unfold each note, put the emphasis on the word, deliver the soul in each song. He always knew this, but the leap came when César Portillo de la Luz, in the mid-1950s, put the devil in his body so that he would stop being a writer in a public office, and he approached the fabulous Child as a disciple. Rivera.
From then on, Tropicana, the Pic Blanc, the Gat Borni, El Pati were heard in the Havana nights; stellar radio and television programs, the 1965 consecration recital in the theater of the National Museum of Fine Arts, the concert at the Amadeo Roldán, the representation of Cuba in Sopot (second prize), Bratislava, Rostock, Dresden, Moscow, Baku, the Chile of Salvador Allende and several Latin American squares, until returning at the end of the century at night to Dos Gardenias.
She sang boleros and ballads, traditional and recent, the new trova and contemporary Latin American song. Take the test and make sense of Gray Afternoons, by Sindo, and How I Loved You, by Manzanero; in Dius que soc, by Almeida, and Requiem, by Silvio, in one of the most resounding interpretations of this masterpiece.
We will know in this way that She sings and will continue to sing.