Esa Fulanita in Santiago | Liliana Herrero in the City of Cities

I darding the tarde and throwing some quantities that in Santiago del Estero no sale el sol. The key is to agree that the Capital Municipality decides to translate the recital from Liliana Herrero al patio cerrado del Palacio Municipal. Allí, se fue amuchando la gente en silas, el el piso y también paradox.

Rodolfo Legname advertised by Liliana Herrero on the microphone, but Iba haba no iba hacer su apipisón acompasada con el anuncio, ya ku estaba abrazando y agradiandjendo li Los Luna, elúo dúo fraternal de bandoneón y guitarra que compartió minutos antes a lick Toledo a Piazzolla pasando por el litoral y deteniendo a todos en una zamba titulada Ella es Azul, cuyo estribillo remataba “Ni oro, ni poder, ni privilegios, solo m hasica hasta el mismo fin”.

Liliana said goodbye to the scenario of Pedro Rossi and he was abraded by a warm applause. The initial punctuation was given to a page with the title Impossible, memorized by its author the late Juan Carlos Franco Páezalguna vez aparcero de Yupanqui, anarchist office defender Severino Di Giovanni-, who ante to an existential pregunta just respond “yo no sé vida, yo se de vidalas”.

At this time, Herrero is all that succumbs when the artist hacks from the script a space of absolute intimacy, the speed of which he drives a laze well amarred with his public. Without losing its interpretive quality, it is important to keep track of both:¿Estoy bien? ”, Asked Rossi in the middle of a song, whose sounding and sounding assurance ensured the current course of the melody.

The repertoire is provided with spontaneous manner and variations only conjugated at high altitude depending on the convenience or cost of singing songs. Ante tomar el camino de su amigo Fito Páezprevail al the public about your personal abortion of rosary and remarriage that the critics who recycle and describe in absolute respect to each other.

More recordable with ternura that the singular critique that actually imports fue from their Rita nie, whose surprise dicho with adolescent irreverence, Ay, abuela, vos folclorizas todo ”. Starting points Giros pidió apagaran la lus que enfocaba directly and encandilaba. Atinadamente, the light that rises in the public. Assuming that you react with your song and your extended hand “give the media a chance and see what it’s all about”. Mariposa tecknicolor tuvo el cierre coral del publico i entonces the phrase “hoy solo te vuelvo a ver, hoy solo te vuelvo a ver” regresses naturally to the cover of the original version.

Disparó Abre as a plegaria. Like a vine, you cut the caudal of your voz before we all went all the way, Liliana agitando sus brazo, levantando sus hombros, mirando al público that estaba al frente e en el balcón de inquirante. Considering that the wind was blowing in the direction of “Dejarlas partir”, because the duda recording Horacio with all the weight of his number and reaching the music record or misma debo dejarlo partir. Esa fulanita entrerriana saltó and create a unique version all, or all of them embody ojos.

Adelantó vamos a cantar dos, Falú y Dávalos ”, as they allude to inolvidable paintings. Go for the first time with Golondrinas, and all the best for improvisation. Change the start-up copy to one of Canción’s parts that no hare nada, Leguizamón-Castilla, “me va tapando los ojos la eternidad”, and his computer Rossi quickly finds the exact air of the copula. M ts tarde vendría Canción del Jangadero ya flor de agua fue sangrando la cancón.

You tend to be in the mood for a duel, you play generously, nude, elevate the historical memories of Argentine music. Liliana achina sus ojos para sonreír y parpadea sus ojos idrososos ko quien quiere decodrar todo lo que nav nava esa communicable inexplicable que sucee en sus recital.

“Everybody’s thinking about the fundamental artists” said and applauded for money Juan Saveedra and Carlos Marrodan.

Singing songs invited to Marrodán before you can Por Seguir, singing your song with Raúl Carnota. Liliana with Pedro Rossi pushing a cost for more spectators. Tap the microphone and antenna to sing to one of Argentina’s most important musicians to remarry: Esa mujer chiquita que ven ahí, es inmensa por dentro ”. Newly, the applause of applause. Después, Liliana the author by Salitral Por es Por seguir o es Para seguir? “Es por Seguir, Negro, es eso lo que tengo que hacer yo, seguir”. A complexity of emotion between them is composed of a moment in silence.

For Chacarera de la Piedras pidió applausos minimos, ya la la iba a cantar con ton ton voz bajo. “No soy arengadora. It is not my intention and I do not want to lose weight, ”he said.

Sound and resonate in the room, with the intermittent sound, a “pip” like a municipal metronome or a low alarm. From the rats a pair of glasses, but other than a grill, solidly all the pacerían hacerlo enmudecer.

La Oración del Remanso fue un río coral. To abort the accounts of this inolvidable current I know that it is created in the collective singular, in that it is unique and inquisitive that it has its own vowels. “I do not know what to say … I do not know what to say. All collectively and in different affinities … “

Liliana specially promoted to Diego Gómez, who was just about 20 years old before going to Santiago in the amphitheater of Collegio Centenario. Aquel recital con Diego Rolón on the guitar for the presentation of the disco Confessions of Viento. All of them are reciting at the Theater May 25 with Juan Falú, at the Pueblo Theater presenting Litoral, and in front of each of them, a love that multiplies.

Hojeando el atril sobre el final, sustuvo: “Alazán is a lukewarm song and a quiz without going to bed.” Vaccination takes only a few seconds as the interpretation of Yupanqui’s work is proposed. As a song of interest, a form of decor, serious and serious here. Here’s y ou tamed puedo preguntarme: “Oscuro lazo de niebla, Te pialo junto al barranco, ¿Cómo fue que no lo viste, qué estrella estabas buscando?”.

Fueron agradecidos los applause sostenidos para a cantora that party su alma in the scenario, that gritó ¡viva la patria! and raised his arm with his hands in V.

Así pasó by Santiago, una vez m ,s, esa mujer río, fiel a su tempestad, that we are not allowed to run with the duration of the hours.

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