Omara Portuondo - Brief Article - Interview

Interview, Sept, 2000 by Ernesto Lechner

THE SOUND OF CUBAN HEAT

Her illustrious career spans more than 50 years, including some of the most glorious moments of Cuban music history. She cofounded the legendary female vocal ensemble Cuarteto Las D'Aida and performed with all the greats, from pianist Peruchin to fusion master Chucho Valdes. Through it all, sixty-nine-year-old diva Omara Portuondo excelled in the most demanding genre of all: the silky bolero. Mainstream recognition arrived courtesy of the Buena Vista Social Club record and the Wim Wenders--directed 1999 documentary in which she and Ibrahim Ferrer share a sweet duet that exudes ice-melting tenderness.

Not surprisingly, boleros form the core of the singer's new solo album (out now on World Circuit/Nonesuch). Backed by members of the Buena Vista collective, her warm, soothing voice caresses these torrid songs and rediscovers the verities of "amor" (love), "recuerdo" (remembrance), and "soledad" (loneliness). About to embark on her first U.S. solo tour, which runs through October 28th when she plays at New York's Beacon Theatre, the beautiful Omara shared with us a few thoughts on the sounds of old Cuba.

ERNESTO LECHNER: You must be extremely proud of this new album.

OMAHA PORTUONDO: Making a record like this one had always been a dream of mine. I finally got some good production values and a whole string section to work with.

EL: You have focused mostly on boleros from the golden age of Cuban music. Why do you think these songs have such a timeless quality to them?

OP: There's nothing forced about them. Their beauty is completely spontaneous. It makes you wonder how these self-taught musicians of the old trova school managed to compose such memorable melodies and deep lyrics of love.

EL: Why include Veinte Anos in the new album, considering you had already recorded it for the original Buena Vista sessions?

OP: I have a particular weakness for that tune. learned it from my parents when I was a little girl. And I've always been a big fan of its composer [Maria Teresa Vera], a pioneer troubadour. I used to listen to her radio show, late at night.

EL: You also picked Donde Estabas Tu?, a song made famous by Latin jazz pioneer Machito and his sister Graciela.

OP: Machito was a tremendous bandleader, always laughing and having a great time. Many years ago, I met Graciela in Puerto Rico. We were both on tour with different bands, and started singing together spontaneously as soon as we saw each other. I remember her with a lot of love.

EL: Did you ever imagine you would be touring the world with the Buena Vista Social Club. receiving standing ovations night after night?

OP: Not in this lifetime. Of course, everyone has dreams of success, because as long as there's life, there's hope. But we never thought we would end up performing in 20,000-seat venues. And we haven't lost the ability to be amazed by our good fortune. We're still normal people. And very sensitive.

EL: The million dollar question: Why is Cuban music so devastatingly moving?

OP: Where are you from, young man?

EL: Argentina.

OP: The Argentine is sentimental by nature. I have a lot of admiration for tango and songs like El Dia Que Me Quieras.

EL: Thank you, Omara. But I'll take a Cuban son over a tango any day.

OP: [laughs] Nature has been very generous with Cuba. The tropical climate, the ever-present sun, the mixture of different races and cultures have made us a very musical nation.

EL: Let's face it, though: Cuban music is not what it used be in the '40s, '50s, and '60s. Why do you think that is?

OP: Nothing ever stays the same, Ernesto. Young people are always moving forward, searching for something new. The old Cuban music you mention reflected the mood of those times: the trova, the boleros, the influence of American jazz. That started to change during the '70s. The music became more aggressive, more syncopated. The lyrics talked of love in a more direct, open way. Cuban musicians were influenced by the salsa coming from Puerto Rico and the United States.

EL: What's your take on this new style?

OP: The contemporary Cuban songwriters have their own virtues, but I still prefer the old songs and their simplicity. In time, am confident that the younger composers will discover their true feelings and express them through their music.

EL: In a way, this whole revival movement ignited by the first Buena Vista record is an antidote to the modem stuff...

OP: The return to the vintage era has been very good for all of us, especially the young Cuban musicians, who got to discover the old-fashioned way of playing romantic songs. That's why we've been so successful. Right now, the world is in a state of constant stress and commotion. It's good to enjoy music that relaxes you and brings a smile to your face.

Ernesto Lechner is a frequent Interview contributor. Omara Portuondo--the Cuban songbird whose voice is reaching more people than ever.