Havana, Cuba. - Singer-songwriter Polito Ibañez’s concerts with different Cuban and foreign symphonic orchestras are like a hug between poetry and musical complexity.
His innovative style and restless spirit have allowed him to give the public works that show deep study of contemporary sonorities, as well as a singular lyricism.
A phonogram was born from his foray into symphonic music, about which Radio Cadena Habana spoke with the prestigious troubadour.
How did Polito Ibáñez figure out this work?
“The album was recorded with Cuba’s National Symphonic Orchestra, conducted by maestro Enrique Perez-Mesa, whereas the arrangements and orchestrations are mine. I included a combination of 11 poems that I set to music and two songs I composed. I have also given concerts with all Cuban symphony orchestras and with several Latin American orchestras.”
How is the album titled?
“It is titled “Ante tus ojos”, after one of the songs in the phonogram, which has been warmly accepted by the public in this kind of concerts. It came to me some time ago, inspired by a past love affair and speaks of the sensations that one experiences when falling in love. Another special song of the album is the composition that I dedicated to “prima ballerina assoluta” Alicia Alonso. I named it "Enamorada del viento" and it gives me much satisfaction every time I sing it, because it has become a true hit.”
What is different in this Polito Ibañez’s album, compared to previous productions?
“I would say that being in that context makes me the peculiar thing. I am popping into a very singular sonority, flowing like another musical instrument that borders on harmony, thus weaving the final outcome. I specifically sing the poems that I wrote, while the orchestras accompany me.”
Do you remember how this idea came about?
“Well, it goes back to my school years in the Higher Institute of Art; when I was studying acting. In those days, I wanted to set to music the poems of Eliseo Diego, whom, like Peruvian Cesar Vallejo, I had just discovered and had a very important place in my life. The project stayed dormant for 30 years and when I tried to retake it, I thought it should be more ambitious. Therefore, I decided to introduce other authors, such as Miguel Barnet, Nancy Morejon and Roberto Fernandez-Retamar (none of his poems had been ever set to music and he almost cried when it happened). There are also Marilyn Bobes, Alex Pausides, the late Bladimir Zamora and Carilda Oliver, plus Reynaldo Gonzalez, who does not feel as a poet, but his chosen work was suitable to do something in the Prokofiev’s style. I also included Reina Maria Rodriguez and Lisa Soto, the latter a young woman that I wanted very much in the project.”
Has Polito Ibañez lately finished other albums?
“That’s right. The last work I did with “Bis Music” is titled “De las manos y los pies” and has sold very well. I also had the pleasure of being invited by Liuba Maria Hevia to sing in her anthology “Vidas Paralelas”, which makes me feel super-happy. I think it is more than a privilege that she chose one of my songs for her double phonogram. I feel it like a driving force for my creative work, because Liuba is a reference for Cuban music.”
What is the next job you will give the public?
“I'm making a phonogram with Italian record house “Art Music”, with which I have made several productions before. It is a work in the making; I do not have titles yet; we are in mid-process of creation. The idea is to stick to the line of work with my band; playing pop-rock mixed with Trova and author songs.”
Cuban music’s radio station thanks this passionate troubadour for his words. We will follow closely his new productions. Whether guitar in hand, leading his band; or singing with a symphony orchestra; Polito Ibáñez has a knack for surprising us with themes of great spiritual values, where his hallmark of steadfast Cubanhood stands out.
Translated by Pedro A. Fanego
