Portuondo was born in October 1930 in Havana, one of three sisters; her mother came from a wealthy Spanish family, and had created a scandal by running off with and marrying a black professional baseball player. Omara started her career in 1945 as a dancer at Havana's Tropicana Club (following her older sister, Haydee). The two sisters used to sing for family and friends, however, and after a brief time in a band called Loquibambla Swing, in 1952 they got together with two friends (Elena Bourke and Moraima Secada) and formed the singing group Cuarteto las d'Aida, backed by pianist Aida Diestro. The group had considerable success, touring the United States, performing with Nat King Cole at the Tropicana, and recording an album for RCA Victor.
In 1959 Portuondo recorded a solo album, Magia Negra, involving both jazz and Cuban music. This didn't, however, mark the beginning of a solo career, and although Haydee left the group in 1961, Omara continued singing with Cuarteto las d'Aida until 1967.
In 1967 Portuondo embarked on a solo career, and in the same year represented Cuba at the Sopot Festival in Poland, singing Juanito Marquez' "Como un Milagro". Alongside her solo work, in the 1970s she sang with charanga band Orquestra Aragon, and toured with them.
In 1974 she recorded, with guitarist Martin Rojas, what would become one of her most critically acclaimed albums in which she sings praises to Salvador Allende and the people of Chile a year after the military coup led by General Augusto Pinochet. Among many other hits from the album, she also praises the work of Ernesto "Che" Guevara in the beautiful "Hasta Siempre".
During the 1970s and 1980s Portuonda enjoyed considerable success at home and abroad, with tours, albums (including one of her most lauded recordings in 1984 with Adalberto Alvarez), film rôles, and her own television series. Her international profile was due to soar, however, in 1996.
Portuondo sang (duetting with Compay Segundo) on the album Buena Vista Social Club in 1996. This led, not only to more touring (including playing at Carnegie Hall with the Buena Vista troupe) and her appearance in Wim Wenders' film The Buena Vista Social Club, but to two further albums for the World Circuit label: Buena Vista Social Club Presents Omara Portuondo (2000) and Flor de Amor (2004). In July 2005 she presented a symphonic concert of her most important repertoire at the Berlin Festival Classic Open Air am Gendarmenmarkt for an audience of 7,000. The entire program was specially orchestrated by Roberto Sánchez Ferrer, a colleague with whom she had worked during her early years at Havana's Tropicana Club. Scott Lawton conducted the Deutsches Filmorchester Babelsberg.
Volver
Omara Portuondo Lyrics
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El silencio inerte nos espera,
Imborrables momentos vividos,
Y una casa que pregunta,
Por qué habremos recurrido a este dolor,
Hoy sin razón.
Ya llego el momento,
De cuidar el tiempo que aún nos queda,
Valorar nuestros sueños vividos,
Confunde el sentimiento,
Y a veces ni quisiera el corazón,
Decir adiós...
Y volver a beber de tu piel,
De tus labios el sabor a ayer,
Vencer esa tristeza, que a veces nos aleja de vivir, de sonreír.
Y volver a beber de tu piel,
De tus labios el sabor a miel,
Y así empezar de cero,
Cambiándole el sentido a nuestro andar y a nuestro amor.
Ya llego la hora de entendernos los dos...
The lyrics of "Volver" by Omara Portuondo delve into the complexities of saying goodbye and the emotional turmoil that comes with it. The opening lines convey a sense of finality as the singer acknowledges that the time has come to bid farewell. The reference to "mute silence" waiting for them suggests a somber atmosphere where unspoken words hang heavy in the air. The memories shared together are described as indelible, etched into their minds and hearts, as a somber house seemingly questions why they have chosen to endure this pain today, seemingly without justification.
As the song progresses, the singer reflects on the necessity of letting go of their love and cherishing the time they still have ahead. There is a tug-of-war between wanting to hold onto their shared dreams and the reality that sometimes emotions become muddled, making it difficult for the heart to embrace the idea of parting ways. The conflicting emotions are palpable, showing a struggle between the desire to move on and the reluctance to bid farewell, mirroring the internal battle of conflicting emotions.
The chorus introduces a sense of longing and nostalgia as the singer yearns to once again experience the intimacy and familiarity of their partner's touch and the taste of their lips reminiscent of days gone by. The melancholy of facing sadness that occasionally distances them from fully living and smiling is apparent, highlighting the emotional complexity of letting go while still holding onto the memories and feelings shared.
The final verse brings a glimmer of hope as the singer expresses a desire to return to the essence of their connection, to rediscover the sweetness in each other's presence and begin anew. The idea of starting afresh, reshaping the path ahead, and infusing their love with renewed meaning and significance is a ray of optimism amidst the melancholic tone of bidding farewell and trying to make sense of their relationship. The lyrics ultimately encapsulate a poignant journey of acceptance, reminiscence, longing, and the possibility of reinvention in love.
Lyrics © O/B/O APRA AMCOS
Written by: Jessee Suárez
Lyrics Licensed & Provided by LyricFind