La Gacela de Cuba: Farah María, said goodbye to the people of Cuba on December 30 at the age of 76. The artist was one of the singers who performed most of the works of the composer and commander of the revolution Juan Almeida Bosque, and one of the most important medals and recognitions she received is the Medal for Literacy and the Award for National Culture.
Through the official website of the Ministry of Culture, the Cuban Music Institute mourned the death of the excellent singer, who started her career very early and was a symbol of Cuban grace, sensuality and mestizo beauty. Farah, the note also says, was a remarkable singer who knew how to choose her repertoire and showcased her undeniable elegance and dominance on stage.
With a personality all of her own, the interpreter who has won awards in countries such as Japan, Germany, Bulgaria and Poland, as well as performed in the Soviet Union, Chile, Italy, Mexico, Panama, Colombia and Spain, made use of her knowledge of dance and dance. physical expression to stand out in the different scenarios in which it was presented.
Master’s songs such as Adolfo Guzmán, Juan Almeida, Meme Solís, Silvio Rodríguez, Mario Aguirre, Juan Pablo Torres and Eddy Gaytán have written for her. He had the honor of performing with Josephine Baker and Bola de Nieve at the Gran Teatro de La Habana García Lorca. In the cinema he played together with Enrique Santiesteban, in The Headless Horseman, in Czechoslovakia and in Verde Verde, by the filmmaker Enrique Pineda Barnet, together with the well-known actor Héctor Noas. He also made a musical comedy.
People will always remember her in songs like El tiburon (don’t take a bath on the promenade…), the tango Goodbye boys, La negra Tomasa and in her very personal versions of La flor de la canela. Likewise in the Chogui bird and the Alardoso or in El Mayor and The Happy Day to Come, both by Silvio Rodríguez.
And of course people will also remember her participation with Héctor Téllez, Miguel Ángel Piña and Meme Solís, in the famous Los Meme quartet, after replacing Moraima Secada. There was no genre that did not leave her personal stamp and charisma in interpreting, attributes that made her immortal in Cuban music.