CHAVELA VARGAS – La Llorona

Isabel “Chavela” Vargas Lizano (17 April 1919 – 5 August 2012) was a Mexican singer of Costa Rican birth. She was especially known for her rendition of Mexican rancheras, but she is also recognized for her contribution to other genres of popular Latin American music. She was an influential interpreter in the Americas and Europe, muse to figures such as Pedro Almodóvar, hailed for her haunting performances, and called “la voz áspera de la ternura”, ‘the rough voice of tenderness’. She received the Lifetime Achievement Award at the 8th Annual Latin Grammy Awards.

Vargas is featured in many of Almodóvar’s films, including La flor de mi secreto in both song and video. She said, however, that acting was not her ambition, although she had previously participated in films such as the 1967 movie La Soldadera. Vargas also appeared in Frida, singing this very song, “La Llorona” (“The Weeping Woman”). Her classic “Paloma Negra” (“Black Dove”) was also included in the soundtrack of the film. She appeared in Alejandro González Iñárritu’s Babel, singing “Tú me acostumbraste” (“I got used to you”), a bolero by Frank Domínguez.

Long considered an open secret, she publicly came out as a lesbian at age 81 in her 2002 autobiography. Her coming out was not surprising to her fans. For years Vargas refused to change the genders in her songs. In “Paloma Negra” (“Black Dove”), Vargas accuses a woman of partying all night long and breaking her heart. Vargas herself, as a young woman, was alleged to have had an affair with Frida Kahlo during Kahlo’s marriage to muralist Diego Rivera. From 1988 to 1993, she was in a relationship with her lawyer Alicia Elena Pérez Duarte.

The legend of the Weeping Woman (La Llorona)

“La Llorona” (lit. “The weeping woman”) is a Mexican folk song derived from the legend of La Llorona. There are many versions of the song. Its origins are obscure, but, around 1941, composer Andres Henestrosa mentioned hearing the song in the Isthmus of Tehuantepec. He popularized the song and may have added to the existing verses.

The legend of La Llorona is often conflated with La Malinche, the Nahua Princess and consort of Hernán Cortés, the conquistador of the Aztec Empire in Mexico. The La Llorona of the song drowned her children in a river in a rage at her unfaithful husband. As a spirit, she was condemned to wander the shores of the river forever searching for her dead children. In Latin America the song is associated with the Day of the Dead.

No sé qué tienen las flores, Llorona Las flores del Campo Santo No sé qué tienen las flores, Llorona Las flores del Campo Santo

Que cuando las mueve el viento, Llorona Parece que están llorando Que cuando las mueve el viento, Llorona Parece que están llorando

Ay de mí, Llorona Llorona, tú eres mi chunca Ay de mí, Llorona Llorona, tú eres mi chunca

Me quitarán de quererte, Llorona Pero de olvidarte nunca Me quitarán de quererte, Llorona Pero de olvidarte nunca

A un Santo Cristo de fierro, Llorona Mis penas le conté yo A un Santo Cristo de fierro, Llorona Mis penas le conté yo

Cuáles no serían mis penas, Llorona Que el Santo Cristo lloró Cuáles no serían mis penas, Llorona Que el Santo Cristo lloró

Ay de mí Llorona Llorona de un campo lirio Ay de mí Llorona Llorona de un campo lirio

El que no sabe de amores, Llorona No sabe lo que es martirio El que no sabe de amores, Llorona No sabe lo que es martirio

Dos besos llevo en el alma, Llorona Que no se apartan de mí Dos besos llevo en el alma, Llorona Que no se apartan de mí

El último de mi madre, Llorona Y el primero que te di El último de mi madre, Llorona Y el primero que te di, ay

Ay de mí, Llorona Llorona, llévame al río Ay de mí, Llorona Llorona, llévame al río

Tápame con tu rebozo, Llorona Porque me muero de frío Tápame con tu rebozo, Llorona Porque me muero de frío