Rosa Colorada - Cecilia Echenique
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Among the Chilean performers, Cecilia Echenique displays a versatile repertoire of widespread validity. Her career, marked by her ten years as a member of the children's music group Mazapán, has been able to seek paths of development in almost opposite spheres, from music of religious inspiration to a sensual register of Brazilian classics. Musicians such as Eduardo Peralta, Mario Rojas and Alberto Plaza have been among his partners.
Echenique's first instrument was not the voice, but the recorder. She has a bachelor's degree in music from the Catholic University and postgraduate studies in baroque music in England. In 1979, on her return from that experience, she won the competition "Una canción para Jesús", a festival of one of the important artistic resistance circuits to the dictatorship, and in which Echenique became a leading voice.
In 1980, the singer began her decade of work with Mazapán, a group with which she recorded albums and had a programme broadcast by Televisión Nacional de Chile. At the same time, she became interested in the music of her own generation, in the style that has characterised her career as a singer: Canto Nuevo. In fact, with a show alongside the troubadour Eduardo Peralta, she inaugurated the Café del Cerro on 15 September 1982, a key point for the development of the style.
In 1982 Echenique travelled to the United States, where he formed a baroque music group at Princeton University. In 1985, she returned to Chile and, as a welcome, she participated as a guest in the concerts given by Eduardo Gatti at the Teatro Providencia in those days. Two years later, the singer joined the album Voces sin fronteras, which was recorded to welcome the visit of Pope John Paul II. Her duet version with León Gieco for "La cigarra" was the first single from the album.
After the success of this foray, Echenique decided to record her first solo album: Tiempo fecundo (1987), which included versions of "Todo cambia" and "Yolanda". Encouraged by the good reception of that album, she quickly turned to the recording of a second album: En silencio (1989), where she also ventured as a composer.
In 1991 the second volume of Voces sin fronteras was recorded. This time the Spaniards Victor Manuel, Ana Belén, Joan Manuel Serrat, Joaquín Sabina and the group Mecano also participated. This collaboration was the prelude to his third album Me pregunto (1992, the year his son Benjamín Walker, the future singer-songwriter, was born), in which the Chilean musician Sebastián Santa María, based in Europe, participated.
The jump in time is to 1994, the year in which the singer recorded El amor existe, still under a new contract with the Musicavisión label, from which she made famous the song "Cómo voy a renunciar a ti", which achieved very good airplay on Chilean radio, as did "Acércate y bésame".
The good state of her career allowed Echenique to tour the United States. On her return, the Top Music award from the Chilean Radio Programmers Network for best female soloist awaited her. Other awards such as an Apes nomination and the SCD award crowned the year. Full of optimism, she embarked on the production of her fifth album: Debajo de mi piel, in which she maintained her attachment to the romantic and acoustic format. The alliance with Alberto Plaza to record "Cinco días" was a clear sign of the balladic inspiration of her work.
In 1998 Echenique joined the ranks of the Universal label and opened the fires of his new contract with an album of traditional music: Villancicos. The album quickly became a best-seller. Her next album, released in 1999, was also a concept album: Chilena, with her own versions of local music classics, from bolero and cueca to Canto Nuevo and folklore.
In 2001 Cecilia Echenique decided to return to the original songs and, with a large and diverse group of local authors, released her album Secreta intimidad. The range of collaborators was wide, from Keko Yunge to Patricio Manns, including Soledad Guerrero, Roberto Márquez (from Illapu) and Joe Vasconcellos. For the occasion, the performer sought a musical production anchored to the sonority of only acoustic instruments and recorded in a studio located in El Arrayán. The result was an intimate and interesting album, and although it did not achieve the same public success as the previous ones, it led to an important presence at the Viña del Mar Festival in 2003, where she was on the jury and gave an applauded performance on stage.
The next step in Echenique's career was an audacious turn with Argentinean musician and producer Pedro Aznar. In 2003, the two of them put together a tribute album to Brazilian popular music, entitled Brasil amado (Beloved Brazil). There, the Chilean singer's voice was sensually worked by Aznar, in order to put it at the service of the bossa nova and samba cadence. Some electronic touches, the collaboration of Mysti-K (from Mamma Soul), a repertoire that addressed themes such as single mothers and homosexuality, as well as a complete change in her image, brought the singer suddenly into a completely contemporary concept. Her version of Chico Cesar's "Mama Africa" was widely distributed, and consolidated the massive reach of her album.
A new album of Christmas carols in 2004, which reproduced the phenomenon of the previous decade and which would later have a DVD version, preceded a new look at the past the following year: together with his old accomplice Eduardo Peralta, he released the album Hoy como ayer, based on two concerts recorded at the Sala de la SCD in July 2000. There they covered part of the repertoire of Canto Nuevo, with Latin American songs by authors such as María Elena Walsh,. Silvio Rodríguez and the classic poem by Mario Benedetti "Te quiero", set to music by Alberto Favero. But also Chilean songs by Peralta himself, Dióscoro Rojas and Violeta Parra.
With the live album Pequeñas historias, recorded in 2006, also released on DVD, he reviewed his own musical path, with a fairly representative review of all the stages of his career. He released it in 2007 on the Oveja Negra label, shortly before another album in partnership, Tonadas chilenas, a project managed by Mario Rojas where, together with the group Diapasón Porteño, they covered several tunes previously popularised by names such as Los Cuatro Huasos or Los Huasos Quincheros, with a result that undoubtedly gave other colours to this traditional repertoire.
After taking on management positions at the SCD, in 2011 he appeared with a completely unreleased album, Lo que hoy necesito, something of a successor to Secreta intimidad, released a decade earlier. With her own songs and those of composers such as Magdalena Matthey, Elizabeth Morris and Mario Rojas, she returned to interviews, radio airplay and video clips, and songs such as "Cuando no me besas" and "Que manera" achieved significant radio airplay.
In 2014, a personal concern led her to research lullabies, and record an album with 16 songs of the genre, and in 2017 she celebrated her 30 years of musical history, in an album with guest voices that was later called A dúo (2018), including Palmenia Pizarro, Joe Vasconcellos and her son Benjamín Walker. A great concert was the closing of these 30-year celebrations, in which he has gone through different dimensions of music, always diverse and active. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.
Echenique's first instrument was not the voice, but the recorder. She has a bachelor's degree in music from the Catholic University and postgraduate studies in baroque music in England. In 1979, on her return from that experience, she won the competition "Una canción para Jesús", a festival of one of the important artistic resistance circuits to the dictatorship, and in which Echenique became a leading voice.
In 1980, the singer began her decade of work with Mazapán, a group with which she recorded albums and had a programme broadcast by Televisión Nacional de Chile. At the same time, she became interested in the music of her own generation, in the style that has characterised her career as a singer: Canto Nuevo. In fact, with a show alongside the troubadour Eduardo Peralta, she inaugurated the Café del Cerro on 15 September 1982, a key point for the development of the style.
In 1982 Echenique travelled to the United States, where he formed a baroque music group at Princeton University. In 1985, she returned to Chile and, as a welcome, she participated as a guest in the concerts given by Eduardo Gatti at the Teatro Providencia in those days. Two years later, the singer joined the album Voces sin fronteras, which was recorded to welcome the visit of Pope John Paul II. Her duet version with León Gieco for "La cigarra" was the first single from the album.
After the success of this foray, Echenique decided to record her first solo album: Tiempo fecundo (1987), which included versions of "Todo cambia" and "Yolanda". Encouraged by the good reception of that album, she quickly turned to the recording of a second album: En silencio (1989), where she also ventured as a composer.
In 1991 the second volume of Voces sin fronteras was recorded. This time the Spaniards Victor Manuel, Ana Belén, Joan Manuel Serrat, Joaquín Sabina and the group Mecano also participated. This collaboration was the prelude to his third album Me pregunto (1992, the year his son Benjamín Walker, the future singer-songwriter, was born), in which the Chilean musician Sebastián Santa María, based in Europe, participated.
The jump in time is to 1994, the year in which the singer recorded El amor existe, still under a new contract with the Musicavisión label, from which she made famous the song "Cómo voy a renunciar a ti", which achieved very good airplay on Chilean radio, as did "Acércate y bésame".
The good state of her career allowed Echenique to tour the United States. On her return, the Top Music award from the Chilean Radio Programmers Network for best female soloist awaited her. Other awards such as an Apes nomination and the SCD award crowned the year. Full of optimism, she embarked on the production of her fifth album: Debajo de mi piel, in which she maintained her attachment to the romantic and acoustic format. The alliance with Alberto Plaza to record "Cinco días" was a clear sign of the balladic inspiration of her work.
In 1998 Echenique joined the ranks of the Universal label and opened the fires of his new contract with an album of traditional music: Villancicos. The album quickly became a best-seller. Her next album, released in 1999, was also a concept album: Chilena, with her own versions of local music classics, from bolero and cueca to Canto Nuevo and folklore.
In 2001 Cecilia Echenique decided to return to the original songs and, with a large and diverse group of local authors, released her album Secreta intimidad. The range of collaborators was wide, from Keko Yunge to Patricio Manns, including Soledad Guerrero, Roberto Márquez (from Illapu) and Joe Vasconcellos. For the occasion, the performer sought a musical production anchored to the sonority of only acoustic instruments and recorded in a studio located in El Arrayán. The result was an intimate and interesting album, and although it did not achieve the same public success as the previous ones, it led to an important presence at the Viña del Mar Festival in 2003, where she was on the jury and gave an applauded performance on stage.
The next step in Echenique's career was an audacious turn with Argentinean musician and producer Pedro Aznar. In 2003, the two of them put together a tribute album to Brazilian popular music, entitled Brasil amado (Beloved Brazil). There, the Chilean singer's voice was sensually worked by Aznar, in order to put it at the service of the bossa nova and samba cadence. Some electronic touches, the collaboration of Mysti-K (from Mamma Soul), a repertoire that addressed themes such as single mothers and homosexuality, as well as a complete change in her image, brought the singer suddenly into a completely contemporary concept. Her version of Chico Cesar's "Mama Africa" was widely distributed, and consolidated the massive reach of her album.
A new album of Christmas carols in 2004, which reproduced the phenomenon of the previous decade and which would later have a DVD version, preceded a new look at the past the following year: together with his old accomplice Eduardo Peralta, he released the album Hoy como ayer, based on two concerts recorded at the Sala de la SCD in July 2000. There they covered part of the repertoire of Canto Nuevo, with Latin American songs by authors such as María Elena Walsh,. Silvio Rodríguez and the classic poem by Mario Benedetti "Te quiero", set to music by Alberto Favero. But also Chilean songs by Peralta himself, Dióscoro Rojas and Violeta Parra.
With the live album Pequeñas historias, recorded in 2006, also released on DVD, he reviewed his own musical path, with a fairly representative review of all the stages of his career. He released it in 2007 on the Oveja Negra label, shortly before another album in partnership, Tonadas chilenas, a project managed by Mario Rojas where, together with the group Diapasón Porteño, they covered several tunes previously popularised by names such as Los Cuatro Huasos or Los Huasos Quincheros, with a result that undoubtedly gave other colours to this traditional repertoire.
After taking on management positions at the SCD, in 2011 he appeared with a completely unreleased album, Lo que hoy necesito, something of a successor to Secreta intimidad, released a decade earlier. With her own songs and those of composers such as Magdalena Matthey, Elizabeth Morris and Mario Rojas, she returned to interviews, radio airplay and video clips, and songs such as "Cuando no me besas" and "Que manera" achieved significant radio airplay.
In 2014, a personal concern led her to research lullabies, and record an album with 16 songs of the genre, and in 2017 she celebrated her 30 years of musical history, in an album with guest voices that was later called A dúo (2018), including Palmenia Pizarro, Joe Vasconcellos and her son Benjamín Walker. A great concert was the closing of these 30-year celebrations, in which he has gone through different dimensions of music, always diverse and active. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.
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