Luz Casal: “The marquisate is an honor, but I will continue to be a badass and paint my lips red” | Culture | EUROtoday

“Around me everything is music.” “That thing about whether I’m a rocker or not has always made no difference to me.” “I have always sailed on many seas.” It’s Luz Casal talking. She is 67 years outdated, she is Galician (and Asturian). His new album, I’m going to permit myself, It is a musical and human problem. It is the primary she has printed because the King granted her the title of Marchioness of Light and Peace, in June of final yr. In Toledo, on January 2, the tour premiered. On January 17 it makes its main premiere on the Movistar Arena in Madrid, throughout the Inverfest pageant. Ella (music by Charles Aznavour) is a part of the songs on the brand new album, and on this case she is accompanied by Carla Bruni, Italian singer and spouse of former French president Nicolas Sarkozy.

Ask. Music is his life.

Answer. Yes, all the pieces I’ve finished musically has to do with my life. Personal life is blended with music. For me all the pieces is music. I’m going to permit myself, This album tells who I’m, what I can afford, what’s of curiosity to me, naturalness, spontaneity. That which permits me to think about that I’m a free particular person.

P. I informed the lodge concierge that I had organized to fulfill you and he informed me: “Old rockers never die.”

R. And the rockers much less so! Many songs I sing will be very deceptive. We are boxed in typologies, in tastes, in traits, as in the event you could not be from this group since you are already from the opposite. Musically, I’ve all the time sailed on many seas. That factor about whether or not I’m a rocker or not hasn’t all the time mattered to me. I’m what I’m or I work to know what I’m. As a listener, my tastes are very broad. I hearken to all the pieces. I can perceive and revel in an digital music live performance and hearken to the Beatles. I began listening to rock as a private selection. Bolero, flamenco, classical music, all the pieces got here with my coaching and my surroundings. On this album there may be all of this. If right here I’d sing alone Tears o Bravo I’d die of disappointment or boredom.

P. And how does he do it?

R. I’ve to go from one facet to the opposite with the freshness and naturalness that I’ve, however feeling that I’m decoding completely different tales. I accepted Pedro Almodóvar’s invitation to sing the songs he supplied me in Far Heels as a result of it gave me, on an interpretive and gestural degree, to do one thing else, to really feel one thing completely different.

P. At the Toledo live performance, on the finish, this shout was heard: “You look like a marchioness!”

R. I did not hear it. About the marquisate… It’s an honor. I obtain any award with nice gratitude. I do know instantly that if they provide it to me it’s as a result of they will additionally give it to anybody. I obtained it with pleasure. Maybe it forces me to take accountability, however I’ll proceed to be a badass and proceed to put on purple lipstick.

P. The purple of daybreak He will all the time discuss you, about your loneliness. AND black shadow lives in you.

R. My dream is to take pleasure in issues, even the unhealthy issues. For me any day is completely different from some other. The interpreter will need to have the power to know the work. A singer, a pianist, a guitarist, a violinist, should know the right way to specific what a melody, a lyric, incorporates. In the case of black shadow, Words alone already present you a path, an surroundings, a panorama. That, along with a melody, is what transcends. That’s why it is so vital for me to have the musicians I’ve. Capable of rock and roll or a track like black shadow o I do not care about something… Being capable of get into such completely different songs appears to me to be one of many coolest workout routines at a live performance. I allow you to go, The final one I sang in Toledo goes on the finish as a result of I believe that afterward I can not sing one other one.

P. The setting helps him.

R. I could have mentioned it earlier than: the stage is the place the place I’m most free, the place I really feel most free.

P. Free from all the pieces?

R. Yes, it offers me a sense of just about bodily energy, like you’re above all the pieces… It occurred to me in Herodes Atticus, in Athens, the place I used to be many occasions. There I noticed myself so quick, everybody on prime of me and I used to be so quick… I felt like that crowd was going to eat me. It was a cool feeling, like nervousness. The stage offers that: by the songs you type of let go. You see it in McCartney, within the Stones, in Raphael, in many individuals: is it due to the celebrity, is it due to the cash? It’s as a result of it catches, it catches loads.

P. He sings different individuals’s songs, however they’re all his personal, as in the event that they got here from his soul. For instance, Everything adjustments. It was written by the Chilean Julio Numhauser and sung, above all, by Mercedes Sosa. You sing it now, outdated and present.

R. I firmly consider that it’s legitimate. There are phrases: “The climate changes with the years. “The shepherd changes his flock.” It’s a lyric with a rhyme. It happens like Violeta Parra’s song Thanks to life. They are songs that you can sing all your life and they are a reflection of the present as well, because they have an extraordinary message. I have never recorded them on, let’s say, official discs.

P. What did that mean to you, and to Galicia? black shadow What did Rosalía de Castro offer to poetry?

R. For Galicia it is like the Galician anthem, because the anthem also has very complex lyrics that I don’t fully understand. black shadow It is not the anthem, of course, but it has something profound. There are songs with other mysteries, but this one has something, and not only for Galicians, that reaches the soul of anyone, and also of any performer.

P. What is the song that lives with you the most of all the songs you have sung?

R. Because of the number of times I have sung them, maybe I don’t care about anything, Rufino y Think of me. Rufino It always enters the repertoire, someone asks for it and I sing it. It was created by Carmen Santonja. He said that that character, from the eighties, was characteristic of the Movida era. And notice that that Rufino Now it can remain valid.

P. At what point in your life did you most need a song?

R. When I lost my father. I was working on a record. And I’m going to Asturias to bury him. I return to the house in Madrid, with enormous sadness, a feeling of orphanhood that I had not felt before, and I write Among my memories…”The world stops existing, and I look back and search through my memories.” It was like the moment of feeling sorry for everything. I think that is the song that I have needed the most. It was the expression of feelings that if I had not released them, they would accompany me for a long, very sad season.

P. He has played one of the women, Amália Rodrigues, Portuguese, and Olga Guillot, Mexican.

R. May Olga Guillot be in my life through the interpretation of Bravo It’s because the lyrics are outrageous. I have never sung about hate. From love to hate there is only one step, it is about a love betrayal, which I have not had. I have a certain intolerance to betrayal, but I do what I can so that no one betrays me. A couple who love each other like hell and now hate each other. It is the most appropriate lyric to express relief: even if you die, even if a train hits you. As for Amália Rodrigues… There are the tears of Teardrop. Fado singers sing with their voices somewhat strangled. Amália sang very well, she was a very important voice with a lot of feeling.

P. And everything changes?

R. Yes, in life, brother, everything changes. Looks like we’re on tour. Like children on the swings, you think you are here and you appear on the opposite side. What apparently does not change is what changes, I have the feeling that my life changes. “Change the superficial and also change the deep… “.

P. Have you cried while singing?

R. Yes, but it is not good to cry, the beautiful voice does not come out. I find crying almost impudent.

P. I asked a poet, Manuel Rivas, to think of questions for you.

R. I admire him, I adore him.

P. Are social networks conditioning music, accelerating it, commercializing it?

R. Speeding it up, without a doubt. This acceleration also democratizes the possibility that, anywhere in the world, someone can make a song, an album, without depending on practically anything.

P. The poet wonders if you remember the singers.

R. Yes. It is one of the first images I have, being in Asturias, my mother always worried so that we would not forget Galicia.

P. Will artificial intelligence, Rivas asks, steal voices and souls?

R. Voices it is possible to steal. But the soul is impossible to steal.

P. And David Uclés, the novelist, asks him: if death were to live forever in a novel, which one would you stay in?

R. Without a doubt, in the poem by Rosalía de Castro that gave rise to the song Black shadow.

P. This would be the journalist’s last question: do you give thanks to life?

R. I chose that song when I was undergoing cancer treatment. Thanks to life. He told me: “When I return to the stage, the first thing I will do will be sing it.” And then I spotted that that track was what I may say to individuals. Let him hear, let him stroll once more. Everything Violeta Parra writes there was for me to inform people who I used to be on stage once more and that I used to be grateful for all times, regardless of all the pieces. The advantage of unhealthy experiences is that they train you life classes. And sure, I need to be mild and keep.