Wed. Apr 24th, 2019

Concha Velasco, a life of interpretation

Concha Velasco, a life of interpretation


Let's just say that Concha Velasco has performed with Tony Leblanc and interpreted the songs of Augusto Algueró and that, far from retiring, his last project for that which is not television as we knew it has been "Las chicas del cable", by Netflix. Her career began with studies of studying classical and Spanish dance at the National Conservatory, after which she embarked on the company of Manolo Caracol as a flamenco dancer and finally made her debut as vicetiple (that is, singer of operetta, zarzuela and magazine) in the company of Celia Gámez.

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At age 15, she made her film debut with "La reina mora" (1954), which is followed by emblematic titles such as "La fierecilla domada" (1956), "Las chicas de la Cruz Roja" (1958), which consecrated her along with Tony Leblanc, with whom he would shoot six films. In this period of young actress came hits such as "The cheats" (1959) and "The verbena de la paloma" (1963). But by chance another facet of his appears in "Historias de la televisión" (1965), in which, due to the demands of the script, he played a song composed by Augusto Algueró called "La niña ye-yé". Thus she found herself without seeking it with success as a singer, something that she admitted was not her greatest talent and, without which, she recorded eight albums.

Velasco made tons of light comedy, but just as the times became more severe his way into the cinema I also look for a more serious code. Those were the roles of "Tormento" (1974), "La colmena" (1982) and others, such as the adaptation to the cinema of "Yo me bajo en la próxima, ¿and usted?" Which gave him so much success in the theater. Because it is in the tables where he obtained his greatest prestige. From the comedies of the 60 as "Those who have to serve" (1962), the well-known Tenorio and others, also participated in works of another density as "The arrecogías of the beguinage of Santa María Egipcíaca", along with Pilar Bardem and María Luisa Ponte, forbidden by censorship, since you could make a political reading of the reality of Spain. And, of course ... "Mom, I want to be an artist", "Carmen, Carmen" and "La truhana".

Far from losing interest, his performances in theater in the 21st century were deeper and more classical. "Hélade", for example together with José María Pou and Maribel Verdú and, undoubtedly, his monologue as "Juana la Loca", a monologue written by Ernesto Caballero and directed by Gerardo Vera at the Teatro de la Abadía.

But you can not explain your career without television, a medium in which Velasco has been a magazine host, a nostalgia program ("Neighborhood Cinema") series interpreter ("Gran Hotel", "Personal Reasons", "Heirs") ...) and even protagonist of an attempt of "Las chicas de oro" to the Spanish. "Velvet" and "The girls of the cable" have been just some of the last projects of an immense race that has not stopped.

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