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Cuando hacemos el amor (Sono Radio, 1982) Eva Ayllón (CBS, 1983) Eva Ayllón en escena (CBS, 1984) Para mi gente (CBS, 1985) Para Todos (CBS, 1986) Huellas (CBS, 1987) Landó de la vida y yo (Sono Radio, 1989) Eva siempre Eva (Sono Sur, 1990) Concierto de gala en vivo (Discos Independientes, 1992) Gracias a la vida (Discos Independientes, 1993)
By 1946, the trio's exceptional virtuosity and authenticity had attracted the attention of Edmund Chester at CBS Radio's Cadena de Las Americas (Network of the Americas). [6] [7] Los Panchos were immediately invited to perform as "musical ambassadors" on the network's Viva América program to support cultural diplomacy in twenty countries throughout Latin America and South America.
Peruvian music is an amalgamation of sounds and styles drawing on Peru's Andean, Spanish, and African roots. Andean influences can perhaps be best heard in wind instruments and the shape of the melodies, while the African influences can be heard in the rhythm and percussion instruments, and European influences can be heard in the harmonies and stringed instruments.
Juan Diego Flórez (born Juan Diego Flórez Salom, January 13, 1973) [1] is a Peruvian operatic tenor, particularly known for his roles in bel canto operas. On June 4, 2007, he received his country's highest decoration, the Knight Grand Cross in the Order of the Sun of Peru.
Flor Sheiza Quispe Sucapura (18 December 2000 – 3 April 2024), known by her stage name Muñequita Milly, was a Peruvian singer. [1] Spanning from 2005 until her death, she had consolidated her artistic career in vernacular Andean music, in which she enjoyed popularity during the 2010s and 2020s.
Música criolla, Peruvian Creole music or canción criolla is a varied genre of Peruvian music that exhibits influences from European, African and Andean music. The genre's name reflects the coastal culture of Peru, and the local evolution of the term criollo, a word originally denoting high-status people of full Spanish ancestry, into a more socially inclusive element of the nation.
By the 1930s, when Trío Matamoros made famous their mix of bolero and son cubano known as bolero-son, the genre was a staple of the musical repertoire of most Latin American countries. [10] In Spain, Cuban bolero was incorporated into the copla repertoire with added elements from Andalusian music , giving rise to the so-called bolero moruno ...
In 1968, Granda recorded the song in her own voice for her album, "Voz y Vena de Chabuca Granda". She was accompanied on the album by musicians, Martín Torres, Rafael Amaranto, Vicente Vásquez, and Carlos Hayre.