Silvio in Chile: a romance that does not go out

What might seem like a memory of the past is, in reality, a very living present. The euphoria of the Chilean public for Silvio Rodríguez The tickets of the first two concerts scheduled for their current tour were confirmed as soon as they were exhausted in less than an hour. Two more functions were added and also flew, even faster. It is not something new: for more than thirty years, every time the Cuban troubadour has stepped on these lands, the same has happened.

To understand that deep bond you have to go back to 1972, when Silvio first arrived with Noel Nicola and Pablo Milanésin the middle of Salvador Allende. Then came the long dictatorship of Pinochet, which forbade his entrance and his songs. We had to wait until 1990 for his return: after seventeen years of forced exile, he returned with Chucho Valdés And Irakere to give one of the most memorable concerts in Chilean history, with more than 70 thousand people at the National Stadium.

That recital was a milestone. The stadium, with capacity for 70 thousand spectators, was known as “The White Elephant” because it was believed impossible to fill it. Silvio overflowed him, something that Rolling Stones had not even achieved a week before.

A quarter of a century later, the phenomenon was repeated again this September 29 as part of its tour of Latin America. This time the meeting was at the Movistar Arena, with capacity for 17 thousand people. They will be total four concerts, all SOLD OUT.

The Chilean public had been waiting for seven years since its last presentation in 2018.

Photo: Kalian.

Silvio in Chile: a romance that does not go out — Photo: Kalian.

A couple of hours before the show, the show was already in the streets. The orange sunset light hit the Andes mountain range, even with snow remains on the peaks. Under that landscape, multitudes lined up the Movistar. People with links (ribbons) and Pullovers Printed with the troubadour face betrayed the move. The initial question – if Silvio’s public would be marked by nostalgia or if there would be new generations – was answered to the naked eye: there was a wide age mixture and, among it, young faces abounded.

Iñaki, 24, inherited the love for the songs of the author of “Hopefully” of an aunt. “My first girlfriend wrote verses of Silvio and told him they were mine,” he confessed with a laugh. “Now I don’t have a girlfriend but I bought tickets for the four concerts,” he finishes. Antonela, a 18 -year -old piano student, discovered Silvio on his own: “A conservatory partner recommended the album Amorios And I was fascinated. Today I come to enjoy those songs and those musicians. ”

Maritza, of sixty -so many, arrived with her daughter. In the years of dictatorship, I listened to Silvio hidden in home recordings: “His voice gave me peace in the middle of horror. I was in the National Stadium in 1990 with my father, and now I am here with my daughter. It is a love that is drawing in generations.”

Aída, who lives in Coquimbo, traveled six hours to be in the concert. In October he will turn fifty and a tour was given: he has tickets to see him in Buenos Aires and Lima. “I plan to reach the fifty renewed poetry and love,” he said smiling.

Gives the impression that there is a kind of “Silvio Tour “. In Havana, On the staircaseI met a couple of young Colombians who had traveled expressly to be there. While we were talking, they confessed that they would not stop at that concert, because they already had tickets for at least one of the recitals that will happen in Chile, Argentina, Uruguay, Peru and Colombia.

Within the enclosure, Silvio and his companions did not disappoint. They were up to expectations and more. I would dare to say that even the most sweet tooth of the silviophiles was satisfied.

The scenario, without special effects or screens, was contrary to the times that run in the entertainment world. It was the bare music and songs. The scenery was reduced to a large white cloth on which lights were projected between poetry.

The first great ovation of the night – the first of many – was for the musicians: Emilio Vega in vibraphone, Jorge Aragón in Piano, Niurka González in flute and clarinet, Jorge Reyes on double bass, Rachid López on guitar, Maykel Elizarde in Tres, Oliver Valdés on drums and Malva Rodríguez in second voices and piano.

Seconds later, the son of Algeria and Dagoberto appeared. He wore his distinctive “apprentice” cap and an elegant black long -sleeve guayabera. “It was given by Manuel López Obrador a while ago and today I am releasing it,” I had entrusted to me between smiles shortly before going on stage.

For more than two hours a repertoire of 27 songs could be enjoyed, similar to the program presented in Havana, although with some absences and other additions. Opened by reciting a trial fragment Street teachersby José Martí, who seems to have already become a classic prelude to “Hummingbird wing “.

With “America”of the album I wanted to knowI thought of Antonela – the young pianist I had met at the entrance – because on this subject the dialogue between the instruments and the execution reaches a sublime level.

The cheers started early that, at times, went beyond the name of Silvio. The public, given before the virtuosity of his classmates, also chanted names such as Niurka or Maykel.

No one wanted to miss the appointment. Among the attendees was Chilean former president Michelle Bachelet, visibly excited, singing. That day was his birthday. In the public, hugs, songs, tears, peeled voice of songs and phrases released as darts of emotion were followed: “I love you!”, “Thank you!”, “Free Palestine!”, “Cuba, Cuba!”

And that was just the beginning. There were many other sections in which to enjoy not only the exceptional verse of the poet, but also the accompanying musical arrangements. Thus, songs like “Snakes Snake “ either “Angel for an end “ They seemed not to be compositions with decades of history, but pieces fresh out of the oven.

Unlike the concert at the Havana staircase, this time Silvio included “I will love you “. And, of course, if you are in Chile, you could not miss that anthem that composed after the coup d’etat and the murder of Salvador Allende in 1973: “Santiago de Chile “. “That is not dead / I was not killed / or with the distance / or with the vile soldier.”

There were also senses tributes: Vicente Feliú, Noel Nicola, Pablo Milanés, Víctor Jara and Pepe Mujica. In the midst of those moments, while moving to the piano, someone from the public shouted “Master!”. Silvio, smiling, replied: “More teacher will be”, and shared with those present that Juan Elosegui, his solfeo teacher, responded every time they called him “teacher.”

Then, with “Who was “spontaneously the public lit the light of their cell phones, turning the room into a sky. And also the shocking reading of the poem “Hast! ”, by Wichy Nogueras: unlike what happened in Havana, where some interrupted with slogans, here reigned an absolute silence that exploded in applause after the final verse. It was then that Malva covered his father’s shoulders again with the Kufiya.

“Angel for an end” It marked the formal closure of the program. But it is already known: it is not necessary for Silvio to leave the stage for the insist. This is how the first bises arrived: “The fool ““Hopefully” and “Hope comes “. Curious return of destiny, because it was with that same song that concluded the mythical 1990 recital at the National Stadium, and now reappeared in a new format and arrangement, always renewed.

But it was not the last of the returns. The troubadour reappeared accompanied by Malva to the piano and, when it seemed that all emotions had already been lived, he surprised with “Amanda reminds you “ To honor Victor Jara. His voice sounded clear, warm. As if time does not pass. As if after more than two hours and more than twenty songs, they still keep strength to give a few more.

And then, like that Saturday, March 31, 1990 at the National Stadium, the public chanted again: “Silvio, Silvio, the town is with you!” The troubadour extended his arms, as if he were flying towards the crowd, and greeted. On his face they were drawn gratitude and emotion. Smile and farewell gestures to each sector, until it falls behind the stage. It seemed the perfect end.

But the public did not move. With the lights on and the technicians ready to dismantle the stage, the ovation continued to rumble. Silvio and the musicians were already in the dressing room, about to have dinner, when the troubadour jumped from his armchair and shot the stage. Behind him, as firefighters to the emergency call, musicians ran. The applause exploded again.

“I was already bathing and swarming,” joked the son of Algeria and Dagoberto, while the chords of “sounded”Small daytime serenade “. And now, again with extended wings, he thanked once again and said goodbye. The public, tireless, continued chanting his name and that of Cuba, like a tsunami of love and gratitude.

Half a century after his first visit, the relationship between Silvio and the Chilean public is still unique. It is not just about music, but about history, memory and collective affection. His songs accompanied resistances, illuminated hopes and today they summon new generations that sing it as their own.