By Jorge Petinaud Martínez
Chief correspondent in Bolivia
The poetic phrase included in the autobiographical song by Hevia Luna 64, performed in the first part of the recital organized by Producciones R, resonated deeply with those who filled the hall of the Patiño cultural center and sang more than one of the troubadour’s songs.
“For me it turned out to be a dream come true, this return to Bolivia, a country that I adore, and to maintain communication all the time with an audience with whom you can interact in a very particular way,” the artist declared to Prensa Latina.
While signing records and agreeing to be photographed with her fans, among them many Cubans, the singer and songwriter reiterated her joy.
“I’m leaving for Chile very happy,” she told this news agency, “exhausted because due to the height of La Paz in the intermissions I had to oxygenate myself to be able to continue, but I finished the concert and for me it has been a greater gift.”
“As some people in the audience who paraphrased a phrase from Luna 64 told me, I think this reunion has been a pact of tenderness,” the singer-songwriter admitted.
The concert was a gift on a stage decorated with a minimalist aesthetic where a sunflower and in the background a screen that showed the video clips made by the dancer and audiovisual artist Pepe Hevia, were the only accessories.
On stage, with clean guitar, Liuba María Hevia and Arnulfo Guerra as second voice and in the improvisations with their strings, showed magnetism and high power of communication in an evening that included about 20 songs.
It was a tour of emblematic works from the artist’s almost three-decade career, in which she drew the colors of the characteristic genres of her repertoire such as the habanera -she was the first to record an anthology of this first Cuban singable form-, the guajira, the free song and the son.
Of special impact were the songs Ausencias, with the Bolivian contemporary dance dancer who studied in Cuba Truddy Murillo; and the duet with the young Camila Bedregal in Liuba María Hevia’s work Con un ramito de marjoram.
A very special moment was the presence on stage of the virtuoso guitarist and interpreter par excellence of the Bolivian cueca Willy Claure, to whom Liuba gave his guitar and left him alone on stage.
Afterwards, they joined their voices to offer the musical and poetic lyricism of Hevia’s creation If I’m missing your smile, and at Claure’s request the singer joined him in the basin In a corner of oblivion.
A relevant poet of music and texts classified as “children’s”, but addressed to the hearts of all human beings, the artist pleased those who asked for Estela, and they gave its creator a standing ovation when she declared that it was written for all children. under 150 years old.
The singer-songwriter informed Prensa Latina that from Bolivia she will leave for Chile, where she will offer a concert on June 18 on the Radio of the University of Santiago.
jha/jpm
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