HomeCultureTeresa Parodi: You can see the color of Venezuela in her music

Teresa Parodi: You can see the color of Venezuela in her music

Teresa Parodi (Corrientes, Argentina, 1946), was the corollary of the Viva Venezuela World Festival. With his recital in the Plaza Sucre de Catia he closed with garlands the 1st chapter of the multitudinous intercultural meeting that for nine days brought together in Caracas, Miranda and La Guaira the most representative of our traditions and a good part of the musical expressions of the world, with the presence of more than 700 national and international artists.

For many in Venezuela she was unknown, beyond associating her name with the former Argentine president, Cristina Fernández de Kirchner, who in 2014 put her in charge of the newly created Ministry of Culture. Today, with that office erased from the institutionality by Javier Milei, Parodi is a reference for cultural resistance, which she has more than exercised since her committed song and its surprising vitality.
He said goodbye to Caracas, after a week of fraternal exchange, with a concert at the Casona Cultural Aquiles Nazoa, on Saturday, May 25, within the framework of the commemoration of Argentine Independence Day, an opportunity that he took advantage of to share on stage with his beloved Cecilia Todd, sister in music and hope.

She declares herself a connoisseur and admirer of Venezuelan music. “Not only the best known, the one that has reached Argentina the most, but all its diversity.” Parodi is a dedicated researcher of musical facts. She is a folklorist and singer-songwriter. Her popularity increased in 1984 after obtaining the Consecration Award from the Cosquín National Folklore Festival; a career in which she has reaped prodigies, such as having been part of Astor Piazzolla's quintet until her nomination for the Latin Grammys in 2015 in the category of Best Folk Album for her album 30 Años + 5 Días.

“I feel that in Venezuelan composition the musicality of the word is wonderfully related to the melody of the songs, the rhythmic forms that are extraordinarily interesting and incredibly colorful. You can see the color of Venezuela in its music. Just by hearing them sing, one imagines all this extraordinary landscape that you have.”

Relates the process of systematization of Venezuelan culture with that of Argentina. They are dynamics that have followed a similar course until the setback that Milei means. “For the national and popular movement that governed Argentina for 12 years, culture, in all its forms, was the axis of public policies. In this government, the first thing that was done was to merge a series of ministries into one: Human Capital, a very strange name,” he says.

His most recent production, Family Portrait, from 2023, is a filial and musical embrace. Of five children, two are musicians and another writes children's songs. Additionally, three grandchildren are part of her band. With them and an army of companions he appears in the cover photo.

The album had two recent nominations for the Gardel Awards, one for Best Folk Song and another for Best Album. For her, in the face of so much good music that is produced today, it is already an award to be nominated, especially because her work is at the forefront of the fight for identity: “It is the deepest root. What do you remember when you leave Venezuela? “Of the music that surrounded him.”

In the House

She herself does not know how to answer why this is only the first time she has set foot on Venezuelan soil, after having sung in all Latin American countries. “I wouldn't know how to answer you. But I take away the impression that she had of her: I think she already knew her because of her culture, because Cecilia transmitted it to me not only with her music, but with her way of being. I arrived in Venezuela and I was already home. I talk to you as if I know you. I feel that we speak the same language, beyond Spanish, the language of the Great Homeland, which is what has united us, as was the dream of Bolívar and San Martín.”

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