Comenzó interpretando temas con mariachi y música tradicional mexicana. Últimamente canta también música pop.
Alejandro Fernández (born April 24, 1971) is a popular Latin Grammy-winning Mexican singer nicknamed as "El Potrillo" ("The Little Colt") by the media and his fans. ] Alejandro originally specialized in traditional, earthy forms of Mexican folk and country music, such as mariachi and ranchera. However, his more recent work has focused on mainstream pop music. He is the son of Vicente Fernández, also a popular Mexican country singer. His nickname "El Potrillo" (The Little Colt) was given to him by the media and his fans because of his being the son of Vicente, who is considered the most popular charro in Mexico.
Career
Born in Guadalajara, Jalisco, Mexico, he trained as an architect but turned to singing in 1991, encouraged by his father. A year later, he released his first album, titled Alejandro Fernandez. Since then, he has recorded 18 albums and sold a reported 15 million records, working with producers such as Emilio Estefan, Jr. and Kike Santander. His first public appearance was in 1976, when his father presented him on one of his shows, he was meant to perform the song "Alejandra". In the middle of the song he forgot the lyrics, started crying and suffered a panic attack, but then, his father got on stage and helped him singing along the song, making it a very touching moment between Alejandro and his father.
In 1992, Alejandro Fernández released his debut, self-titled album, launching one of the most prolific, successful and memorable careers in Latin music. Since then, the son of legendary ranchera singer Vicente Fernández has done what few progeny of famous parents have ever been able to achieve: He’s followed in his father’s footsteps, but at the same time, he’s carved out his own, separate path, thanks to his skilled vocals and an unparalleled stage presence. Fernández also has portrayed the lead role in zapata: El sueño del héroe, a 2004 movie about the Mexican revolutionary hero Emiliano Zapata by filmmaker Alfonso Arau, which proved to be one of the greatest disappointments in the Nuevo Cine Mexicano era, spending 7 million dollars in production and publicity but faring poorly at the box office.
While most Latin acts talk about crossovers from Spanish to English, Alejandro is one of only a handful of artists that have managed to become a superstar by crossing over from the world of traditional ranchera music to the world of pop. That duality began in 1997 with Me Estoy Enamorando, a collaboration with producer Emilio Estefan that sold 3 million copies worldwide and established Alejandro as an international star. In 1998, Alejandro performed along with the operatic tenor Placido Domingo and the French singer Patricia Kaas in Christmas in Vienna VI.
In 2004, A Corazón Abierto reunites Alejandro with Grammy-winning producer and songwriter Kike Santander, who penned his greatest hits from "Me Estoy Enamorando". But it also finds him singing the songs of a bold new generation of songwriters, including Gian Marco, Leonel García (one half of pop duo Sin Bandera), Reyli Barba (former member of pop band Elefante) and Mexican group Tres De Copas.
"A Corazón Abierto" is about love, but it’s hardly a staid album. Quite the opposite. Under the guidance of producers Kike Santander and Aureo Baqueiro, the sound of this record is taken beyond the traditional and is an album rich in instrumentation—rippling guitars, flowing strings and mariachi lines—that treads on folk, rock and ranchera elements with organic ease and conviction. The superb emotional and musical interpretations are the clincher. At times exuberant, "A Corazón Abierto" can also be an album of subtle understatement, unafraid to bare the singer in every sense of the word.
"Romanticism is something that will never die", says Alejandro Fernández, explaining his choice of songs on "A Corazón Abierto", his breakthrough recording about lost love, love that is never forgotten and the capacity to always love again. "I’m super, ultra passionate. We’re releasing an album that’s an x-ray of myself. That’s why it’s titled "A Corazón Abierto". It was something very honest. Not naked, but something deeper than that".
In 2005, Alejandro launches México - Madrid: En Directo Y Sin Escalas (in English: Mexico - Madrid: Nonstop). Featuring 13 tracks including one new song, this album is Fernández at his best - live and in concert! "Produced by Aureo Baquiero and filmed in front of a live audience at Spain’s Palacio de Congresos IFEMA, the production features Fernández performing some of his biggest hits accompanied by a 28-piece orchestra and some of Spain’s most important voices on three of the songs: Amaia from La Oreja de Van Gogh joins him on "Me dediqué a perderte"; Malú duets with him on "Contigo aprendí", and with flamenco star Diego El Cigala perform a moving version of "Como quien pierde una estrella", accompanied on cajon by famed Flamenco guitarist Niño Josele. That same year, Alejandro was chosen to sing along with the tenors Jose Carreras and Placido Domingo in a special concerto celebrating the opening of the "Forum Internacional de las Culturas" in Monterrey. Alejandro's performance was praised by the audience. He also recorded a duet song with the tenor Mario Frangoulis called "Hay Más" from the album Follow Your Heart.
In 2007, launches Viento A Favor features tunes written by Leonel García and Noel Schajris (better known as emotive Latin-pop duo Sin Bandera) and Mexican singer Reyli Barba. They're all taken to wuthering heights by Fernandez's stellar vocal range, which goes from hushed whispers to booming intensity. First single "Te Voy A Perder" is an epic romance, and "Amor Gitano", a duet with performer Beyoncé Knowles. Closing tune "Cuando Estamos Juntos" is another surprise, an acoustic-flavored ode to simple joy.
He has five children, (Alejandro, Jr. and the twins, América and Camila) with his ex-wife, Mexican América Guinart, and two (Emiliano and Valentina) with his now ex-girlfriend, Colombian model Ximena Díaz.
Discography
1992: Alejandro Fernandez
1993: Piel De Niña
1994: Grandes Exitos A La Manera De Alejandro Fernandez
1995: Que Seas Muy Feliz
1996: Muy Dentro de Mi Corazón
1997: Me Estoy Enamorando
1999: Mi Verdad
1999: Christmas in Vienna VI (Plácido Domingo, Patricia Kaas and Alejandro Fernández)
2000: entre tus brazos
2001: Orígenes
2002: Un Canto De México
2003: Niña Amada Mía
2003: En Vivo: Juntos Por Ultima Vez
2004: zapata: El sueño del héroe (Soundtrack)
2004: A Corazón Abierto
2005: México - Madrid: En Directo Y Sin Escalas
2007: Viento A Favor
2007: 15 Años De Éxitos
Website :www.alejandrofernandez.com
De Nada Sirve Hablar
Alejandro Fernández Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Perdona si te suena raro
Pero es la verdad lo se se fue tu cariño de viaje
De nada sirve que te abrace si no estas conmigo
Aproveche mi tiempo libre
Para no llorar lo se sera complicado olvidarte
Le puse al calendario una semana libre
Trato de reparar lo que es incorregible.
Se que mi soledad no puede comparar lo que es tu compañía
De nada sirve hablar sin miedo y la verdad son pan de cada día
Se que la eternidad no puede asegurar que vuelvas a buscarme
De nada sirve hablar si tu mirada intenta pero en mi no cabe
De nada sirve el tiempo y tu muy bien lo sabes
Por un segundo me detengo y te miro de lejos
No me acostumbro a la distancia
Y debo confesar sin respirar no puedo rescatarte
Le puse al calendario una semana libre
Trato de reparar lo que es incorregible.
Que llenes mi vació es casi un imposible.
Se que mi soledad no puede comparar lo que es tu compañía
De nada sirve hablar sin miedo y la verdad son pan de cada día
Se que la eternidad no puede asegurar que vuelvas a buscarme
De nada sirve hablar si tu mirada intenta pero en mi no cabe
De nada sirve el tiempo y tu muy bien lo sabes
The lyrics of Alejandro Fernández's De Nada Sirve Hablar express the frustrating reality of a broken relationship that cannot be mended. The first verse describes the futility of physical gestures like hugging and embracing, acknowledging that they have lost their significance due to the absence of feelings once shared. The singer apologizes for stating the truth so bluntly but maintains that their love has gone away on a journey, and there is no use holding onto a false hope.
The second verse highlights the inability to equate the singer's solitude with the warmth and comfort that came from being with their lover. Speaking honestly and fearlessly is a regular part of their life now, but it does not matter if it cannot bring back the lost love. The idea of eternity cannot guarantee a reunion or rekindling of love, making it pointless to talk without actions to back them up. The bridge of the song reveals the singer's struggle with accepting the distance and confesses their heart's desire to rescue their lover despite the impossibility of it all.
Overall, the song conveys a person's emotions when they accept that they cannot fix what is broken with their lover. They acknowledge the futility of their attempts to bring back a love that is no longer there and the pain of being unable to communicate honestly or fearlessly. In the end, they confront the harsh reality of the situation and allow themselves to feel vulnerable.
Line by Line Meaning
De nada sirve que te abrace si no sientes frio
It's pointless for me to hug you if you don't feel the coldness between us.
Perdona si te suena raro
I'm sorry if this sounds weird to you.
Pero es la verdad lo se se fue tu cariño de viaje
But it's the truth: your love went on a journey and left me behind.
De nada sirve que te abrace si no estas conmigo
Hugging you is useless if you're not with me.
Aproveche mi tiempo libre
I used my free time.
Para no llorar lo se sera complicado olvidarte
To avoid crying, even though I know it'll be difficult to forget you.
Le puse al calendario una semana libre
I marked a week off on my calendar.
Trato de reparar lo que es incorregible.
I'm trying to fix what can't be fixed.
Que llenes mi vació es casi un imposible
It's almost impossible for you to fill the void in me.
Se que mi soledad no puede comparar lo que es tu compañía
I know my loneliness can't compare to your companionship.
De nada sirve hablar sin miedo y la verdad son pan de cada día
It's pointless to talk without fear and truth, which is an everyday occurrence.
Se que la eternidad no puede asegurar que vuelvas a buscarme
I know that even eternity can't guarantee that you'll come back to me.
De nada sirve hablar si tu mirada intenta pero en mi no cabe
It's pointless to talk if your gaze tries to fit into me but can't.
De nada sirve el tiempo y tu muy bien lo sabes
Time is useless, and you know it very well.
Lyrics © Sony/ATV Music Publishing LLC
Written by: GIAN MARCO
Lyrics Licensed & Provided by LyricFind