At age 10 Haydée went on stage for the first time to sing alongside her father, the renowned Cuban singer-songwriter Pablo Milanés. Maybe it was that very day that she discovered her future. 28 years later, Haydée released her most recent album: a tribute to the work of Pablo and Cuban music, featuring 11 songs sung in duet written by her father from the 60s to the 80s.
Haydée manages to put the song in your bones, because all the truth and emotion of what she sings, beyond being heard, is lived. And although she is quite young to be considered an essential icon of Cuban music, the truth is that she is close to being one. One thing can be said without a doubt: that she, among the many young Cuban artists, is a woman who has known how to build her career and today she has many good stories to tell.
Creating that whole-body feeling in every song is not easy, and she knows it, but the key is to live for the music, enjoy every moment, and believe in every story she tells/sings. In her own way, timidly extroverted, she makes El Muro del Malecon magically unique when she sings it, and she gives Havana a thousand different meanings when she gives it her voice.
Haydée has chosen to live in Havana because this is where her roots, her traditions, her memories and what she loves most, her family are. According to her, Havana is a woman that she loves with all the strength of her heart. That is why she told us, when we interviewed her in Gibara, that she is thinking of a campaign to motivate Habaneros (residents of Havana), by birth and by adoption, to take better care of this city, which is without a doubt one of the most beautiful in the world.
As history has shown, art is one of the most effective mobilizing weapons that exist. So, through design, Clandestina will support all of the music Haydée wants to give to Havana and its people in order to preserve and take care of the city.
She has a way of hypnotizing her audience, just as she did in Gibara. There was a beautiful chemistry between the sea, the magic, and the depths of this coastal city, the likes of which can only be matched in this setting. After all, the Gibara film festival gives Habaneros, Holguineros, and people from all over a reason to gather, watch movies, dance, meet new people, forget about work, pain, and stress and spend the day and night celebrating in a magical place.
Haydée returned to Gibara twelve years after her first appearance and she was bigger and had more to say—more Haydée to exhibit. She was more eager to connect with her saints, religion, and the mysticism that allows her to connect with her listeners, with the stage she stands on, with the microphone, with the piano, with her words.
Undoubtedly, her musical heritage, and especially the influence of her father Pablo Milanés, has made Haydée's career grow. But her influence does not just come from the opportunities that her father has given her, but all the musical referents she has had since she was born and all the experiences she has gained by sharing the stage with greats such as Chico Buarque, Adalberto Álvarez, Descemer Well, Tata Güines, Fito Páez, Pedro Aznar, Luiz Melodía, Issac Delgado and Omara Portuondo, among others.
Haydée could not live without Havana. As she says: she takes it with her everywhere. The truth is that this city will never let her go either.
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