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DE ALFREDO BIOGRAPHY BIOGRAPHY Sadel





Born in Caracas, Venezuela, on February 22, 1930, from a child expressed his musical skills did not go unnoticed at school where he studied, and two Salesians, Father and the Father Sidi Calderón is took charge of their musical education by educating their natural voice, a rough diamond rough-and even giving lessons in stage performance.

The child came from an unhappy home by the irresponsibility and neglect of his father, a typical Latin macho left scattered about 50 children in the region. Its sad and lonely childhood was full of hardships as well, by the mother only had to lift guapear and educate the family. The father, drunk and authoritarian, he was singing pop songs, which surprisingly for an advantage for the artist. "I learned to love these songs would say later, Juan Arvizu, Imperio Argentina and singing the same Agustín Lara, which enclosed a world so big for me."

His debut as a 'singer' was given in the Cathedral of Caracas, singing the Ave Maria and impressing those who heard him. Several sponsors helped his training that began at the School of Music in Caracas and continued into Mexico, New York, Buenos Aires, Barcelona, \u200b\u200bSalzburg and Milan and included music theory, piano, harmony and composition.

But his consecration happen yet in popular music, so today is remembered with love and affection not only in the Amazon region to "save the green treasure of American Indian soul ..." (as defined in Singing Harp, a of his most beautiful songs), but in the rest of the continent.

Other skills of young Sánchez were drawing and painting, and his cartoons were published by the newspaper and magazine Sphere puppet. He later worked in the advertising agency Mc Cann-Erickson, and this income would help somewhat to the situation in his home. Thanks to this

Alfredo was able to pay the recording of their first album 78 RPM, on one side the bolero Despair and the other hand, the paso doble Black Diamond, dedicated to the bullfighter Luis Sanchez, a friend of the singer who also once wanted to become a killer and even fought in several occasions.

those days was that his friends advised him to change his name because he already knew in the middle a Alci and Alex Sanchez. Took the first syllable of his surname SA and added'S, last syllable of the name of his idol: Carlos Gardel.

would come after the first recordings, Despair and the Caribbean, the composer Maria Luisa Escobar, You cried yesterday and last night Erder James loved you, Rene Rojas with love I can not, we knew in Juan Legido version, The Gypsy matron.

begins to rub shoulders with leading figures of the time, his countryman Mario Suarez, Raul Shaw Moreno Bolivian and Chilean Antonio Prieto, who dominated the music scene with the boleros de Los Tres Reyes and the Voice of Tenderness, the Puerto Rican Virginia Lopez.

begins to stand at the continental level and travel to Canada from where she went to the United States, performing in places like the Latin Quarter and the Chateau Madrid, New York, accompanied by the orchestra of Aldemaro Romero. The most important thing of this tour is the production of LP My Song, a Hispanic theme selection soon became a bestseller.

His great physical good looks made him a darling of the 'female turkeys' and delirium of women in nations where it was known. The film called early and participated in productions such as A La Habana me go, with the Cubans Blanquita Amaro, Otto Sirgo and Argentine Tito Luisiardo and a year later in flower field. MGM called him to Hollywood where they spent a year receiving salary and not being assigned a role, he went to Mexico where their records they had known. In 1956 participates in the mouse, next to Raul "Raton" Macias, and Tu and lies, with Miguel Aceves Mejia and Evangelina Elizondo.

In 1958 he moved to Cuba where the master was the Chilean Lucho Gatica. César Miguel Rondón musicologist says of those days, "record albums, television shows and his photograph appears with praise in almost all the magazines and publications of the island. Alfredo Sadel called legitimate member of all the pomp and elation Farandulera who knew the continent at that time. "

His passage through the island was recorded in two recordings made at different times and among other fine tunes included Lágrimas Negras de Miguel Matamoros, Night Blue, Ernesto Lecuona and If I can wish, Ignacio Villa, Bola de Nieve.

appear to him in Cuba a few lumps in the throat that turned out to be benign. His cure is a miracle attributed to Fray José de Guadalupe Mojica, who called his benefactor. He returned in 1960 to Mexico where it operates in three stray bullets with Javier Solis, Elvira Quintana, María Victoria and Julio Aldama. Reunites with Aceves Mejia in luck, with the Mexican film grandmother Doña Sara García and again with Solís and Aldama, in every fair in love.

His film career ended with Martin Santos, the Plains, co-mexico-Venezuelan music by Juan Vicente Torrealba and Chelique Sarabia, again with Aceves Mejia famous for his falsetto and his shock of white hair. It plays Sadel Di, with a beautiful theme that displays his formidable voice also appear Adilia Lorena Velasquez and Castillo, the goldfinch in Venezuela, well remembered for the coup Tocuyano.

In 1961 he moved to Europe devoted to the music called educated: opera, operetta and zarzuela will win the applause of selected public and demanding. Critics praise his beautiful tenor voice over the years has gained in intensity. The people however never forgot and their versions of Humanity, Vereda Tropical, Uncertainty, The cumaco of San Juan, El juice, Domino, has my soul, Desvelo Love, Grief, Do not care to know, Granada, I'll always go, Those green eyes, tears (of Colombia Alvaro Dalmar) and its unrepeatable versions Anxiety and Madrigal (Felipe Rosario Goyco, Don Felo), a wide spectrum ranging from bolero to the folk to classic continued listening to-and even-heard in many radio stations in our America. He

great duets, including the soprano Alba Marina and the other with Beny Moré, the Barbarian of Rhythm, which occupies prime place among American collectors, particularly their version of free Alma.

excelled as a composer, to be motivated and inspired countless pieces I will not deceive you, Two words, another rose, iron man, swallows the time, I want to Maracaibo, reasoning, reason, and dozens more.

returned to Cuba in 1978 won tributes apotheosis who encouraged him to record again popular music, between her an album with music of Los Panchos and another that paid tribute to Morocho del Abasto, Carlos Gardel.

He settled in New York since 1985 and traveled a lot since then to Caracas, and Colombia, especially in Medellín, where he said feel welcome the very fond tribute to its people. When I was happier for the opportunity to stand at the Metropolitan Opera in New York, his health began to deteriorate. Was performing in Cali, Colombia, when he had to travel urgently to Caracas on December 31, 1988.

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DE TONA LA NEGRA de agustin lara



They did not sing, but they rocked, and what he said still singing moved, leaving in the bohemian and romantic an air of orphans are still envelops the soul, so much so that has been lost of how much has been written about Marie Antoinette del Carmen Peregrino Alvarez, Tona La Negra, for whom torrents of admiration overflow when one of the most iconic voices to record not only the popular music of Mexico, but of our America .

an irresistible symbol presence significantly for millions of inhabitants of the subcontinent, this peerless woman, died November 19, 1982 in the capital of his country, planted feeling, and sowed it in such a way that when the news of his departure, fans wondered if the world could keep going without her. And yes, still walking, but wrong, to be clear, because when it comes to do the math about the female voices that have joined essence, awareness, quality and social sense of belonging to a people and a race, the unspent balance is favorable.

born October 17, 1912 in the district of La Huaca the port of Veracruz, and his arrival marked the entrance of the beautiful Mexican town tropical land on behalf of Cuba, son, rumba and danzon. Girl singing with family, his brother Manuel, The Black Pilgrim, who always made great musical couple, but as happened to Carmen Miranda, that immortal symbol of Brazilian popular music in the first half of the twentieth century mark arrived at a party destination. In case of Marie Antoinette, was present at the meeting Agustín Lara, who was beginning to knock on doors of fame and, as happens in these gatherings after three shots of tequila, someone said, "That song Tona", and sang , petrified and speechless, leaving the musician poet, who only managed to ask Where did that voice. From that moment, Lara seized her voice, because the merger of the two talents was the greatest thing that could have happened. He endorses the memory: "In 1932 I heard a young unknown singer. Open your mouth and open it I, stunned, was all one. When I heard her sing at the party I got to ask him who he was, where he had come. I said they called Tona La Negra, and it was a port district. Impressed, I invited her to lunch the next day to discover he had reached a new muse in my life. jarocho wrote 'sorry' just for her. " Antoinette

recalled that influenced by Manuel, his older brother, since he was eight he began to sing in festivals, contests and bazaars, sometimes alone and sometimes in duet with another girl, Celia Pacheco. At 17 years and was married to William Cházaro Ahumada, who took her to Mexico with her first child just two months old, which had its debut on July 16, 1929 at the cabaret "El Retiro", where was known as "The Pilgrim".

There are several versions of how they came to life Tona de Lara. Another story says he was walking one afternoon Boca del Rio, but the walk was interrupted by the voice of a brunette who washed clothes and sang one of his songs. "For life of God is a sin that someone with so much talent is here washing clothes, "said Augustine, and then talk with their parents and taken to the capital, leading it to victory after baptizing the nickname that would make famous, a fact that would dispute radio mogul Emilio Azcarraga Vidaurreta and his friend Enrique Contel, who have have heard it in 1929, during that first visit she made to Mexico City with her first husband.

Three years later, back to its home port actually appears in his life the composer and pianist who writes "Lamento Jarocho", "Veracruz", "Noche criolla", "Prayer Caribbean", "Palm" "Turning Blue" and "The cumbancha" which appeared in the drama "Esperanza Iris" in January 1933, so successfully that should prolong their season of performances.

However, La Negra had its own story to tell that was his brother Manuel who presented with Agustín Lara in 1930, during a tribute to his talent: "I sang for him shyly and, listening to 'In Love', was amazed, fascinated I would say. Then he began to write to me `Sorry` jarocho, the song that meant my post to fame. " Whatever the story was true, his career will always be linked to the musician's poet, who wrote to her their most famous compositions. The conquering



So, days after he turned twenty, Tona La Negra exclusive debut as a singer Agustín issues, and delirium came on stage crowded capital "Esperanza Iris" madness in the "Politeama" , the shock and the conquest of the heart of a Mexico that is rediscovered through this immortal duo.

He joined the cast of XEW, where Lara and sang accompanied by the orchestra of Alfredo Giron, offering lavish those plays and made recordings for RCA Victor, without doubt, today is one of the most precious legacies in the history of bolero pieces reaching invaluable for historians and collectors, by the accumulation of experiences that recreate the Mexico that left and never return.

"This love wild," Why deny, "" Obsession, "" Lying from you "" And yet I love you "," Noche criolla "," Sorrow, "" Vereda Tropical "," Every night love "" Angelitos negros "," Tears of Blood "," You're wrong "," Woman to Woman "," Like Swallows "," Ten Years "and" Ashes ", which says:" After the penalty therefore bear feel you have forgotten, after all I gave my poor broken heart, you're back to me so that I know of your misfortune, by the bitterness of a love like that I gave you .... "These are some of their titles spread over almost a hundred acetates.

In some of his interpretations, she, on behalf of blackness, begged for mercy for the suffering.

scandals did not need to promote nor to assume positions of diva to stand out, and Jarocho, Veracruz-as having been born in the joy of a port which was key and entry of English culture in Mexico in 1519 - what transpired with sweetness and hence its permanence.

Not only was an interpreter of Agustín Lara, but composers and poets who combined to do and say, including Rafael Hernandez, Sindo Garay, Gonzalo Curiel Ignacio Piñeiro, Pedro Flores and Andrés Eloy Blanco, while also assuming a distinct role for women in an era when women were denied to the vote, taking a role that went beyond childbearing and wait, and Maria Teresa hermanádose Vera, Rita Montaner, Omara Portuondo and other figures, and today Guadalupe D'Alessio and Paquita la del Barrio, saved all proportion, "proudly claiming their gender.

always Tenderness ...

only won her affection, asking nothing but receive over half a century of professional traffic exact, but after 1982 he no longer heard on the radio, in the privacy of home or an old record today a CD, always amazed at the permanence of his voice, and is, as is said of Carlos Gardel sings better every day. For its time it has not died, and that it has been more than two decades of a heart attack ended the life of the mulatto cinnamon color, rather, he died of tenderness. Tona

personal life was always a discreet, quiet, away from bright lights and scandals. He had three children with Cházaro Ahumada, marrying later with the jazz drummer and Victor Ruiz Pazos. In his later years, with frequent visits to friends and some health ailments, he lived almost retired party, scenarios.

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Agustín Lara Aguirre del Pino was born in Mexico City, DF, on October 30, 1900. His parents were Dr. Joaquín Lara and Maria Aguirre del Pino. His childhood was spent in Tlacotalpan, Veracruz, where his two brothers were born later, the Lara family had to move back to the capital of the Republic. They established their new home in Coyoacan, with the help of Refugio Aguirre del Pino, sister of the composer's mother, who was director of the hospice where Augustine confesses that he had the first contact with musical instrument was a harmonium used in the center. Dr. Lara, from initiation taste for musical art discovered in the small Augustine, is strongly opposed to the inclinations of her offspring, who suffered by this concept and the extremely rigid discipline of his father.

Since little was available to run on the fashionable piano melodies and improvise musical passages. At the age of 13, had the opportunity, coupled with economic necessity, to work as a pianist, making the "Ladies Club" than is conceivable, it was a night owl site dissipation. That had its first revenues, facing an early age, the rigors of life with strong dramatic brushstrokes. The

Dr. Lara who was not in Mexico City, was surprised to return, to find the young pianist in an activity that filled him with indignation and led to the determination being locked in the Military College, to be submitted to a severe discipline. Agustín Lara went there one year, which failed, getting through this because Dr. Lara sent it to Durango in heavy work. A pleading of Ms. Lara, was forgiven, re-entering the Military Academy.

In 1927, freed of military discipline, he walked down the path of music, working in a cabaret in the direction of Santa Maria la Redonda, where, as a result of an impulse of jealousy, a woman shot him in the face.

In 1929, he began working on his songs, making friends with singers of impact as Maruca Perez, Juan Arvizu and Trio Garnica Ascencio, who began performing his songs.

In the time when broadcasting becomes popular impact features, on 18 September 1930, was thrown into the air a new station with ambitious plans and included the novel composer Agustín Lara, playing with his controversial style and voice songs that were soon heard throughout Mexico, the intimate time Agustín Lara, was characterized by the release, in each program, one or several songs of his inspiration. Trying to enumerate

Lara's success would be difficult, because it is one of the most prolific composers and add several hundred hits. His song Granada has been around the world in the voices of the most famous artists.

In your love life, we can only say that confession's own musician, his first marriage occurred in 1939 with Carmen Zozaya. In the same line as the sentimental, are also the names of Maria Felix, Clarita Martínez, Yolanda Gazco, Vianey Lárraga and Rocio Duran, with the latter was married in Spain in 1965. Had no offspring and adopted the son of Vivian who baptized Augustine, bringing Lara Lárraga surnames.

made several trips to Europe and most recently in 1965, when he toured the Iberian Peninsula, which was the subject of numerous tributes. In 1967, due to his poor health, was retiring from the art to be isolated from everyone in his house on the corner of Edgar Allan Poe and Homer of Colonia Polanco.

English died at the Hospital of Mexico City on November 6, 1970 and was watched in the Theater of the Society of Authors and Composers of Music, where he was taken on day 7, the Palacio de Bellas Artes, hence went to the Rotunda of Illustrious Men in the Dolores Cemetery.

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biography biography biography of betty missiego




born in Peru, in Lima, more accurately, the January 1, 1945. He began his career as a dancer, but an unfortunate fall forced him to retire and leave his post as first dancer of the National Ballet of Peru, which prevents not continue in the artistic world with a television program that gives enormous popularity. In 1969 he settled in Spain, where he began his career as a singer, which is supported by the large number of prizes won at festivals. In 1972 obtained the English nationality and six years later he represented Spain at the World People's Festival in Tokyo and at the Paris Olympics.
But the final respaldarazo come from the hand of the Eurovision Song Contest 1979 in Jerusalem, where we represent with the song Your Song. A point was to win, made almost all the votes, there was only that of Spain, who could not vote for pessimism, and had eleven points clear of Israel, but voted twelve to Israel and Betty was left without the coveted festival.

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The career of Victor Manuel Aviles Rojas, known to all as Vitín Avilés, included successful internships for several of the most celebrated orchestras exponents of Afro-Caribbean music, collaborations record with as many stages as a soloist and successful. This admired singer was described by critics as demanding as good Latin as bolero. Put in plain words, this is a versatile performer and unique style. In the view of many of his followers, what was your greatest merit have been selected by Xavier Cugat on vocals for the album "Merengue by Cugat!" (CBS, DKC-10454), recorded in 1955, responding to the request of the Dominican dictator Rafael Leonidas Trujillo. Such production is still considered the most successful, globally, in the history of merengue.

Ironically, the name of Vitín reach Avilés full stellar lineup since 1974, after more than 30 years of intense artistic activity during which participated prominently in about 40 albums of traditional Cuban music and salsa, accompanied by bands and stellar sets. That year he recorded the album of boleros "Sing to Love" (Alegre, SALP-8676) that spawned three smash singles: "I was more fair" and "Why now?" (Bobby Capo) and "Temes" (de Tite Curet Alonso). This production is considered a classic of national discography.

Vitín Avilés was an intuitive musician. Never studied singing or an instrument. Born September 30, 1924 in the San Silvestre, Mayagüez. During his early youth he held the office of barber, he learned from his father, while making his first steps as an amateur in several radio programs in his hometown of Mayaguez WPRA. For his exceptional voice, he announced grandly as "Mojiquita" nicknames that are intended to compare with the acclaimed Mexican tenor Jose Mojica.

In 1943 began his professional career by joining the Hatuey Orchestra, led by pianist William Manzano. With that organization, which also featured Mon Rivera, it was about a year. And, after several months in Anacaona Orchestra, the Cuban pianist Obadiah Villalonga, decided to settle in San Juan, in 1944.

The Capital City soon found accommodation in the emerging band of trumpeter Miguelito Miranda. Was accompanied? Ed by this band that in 1947, recorded an album for the first time. Such a plate (78 rpm) contained the guaracha "TV", at which point the authors, Tony Fergo Cubans and José Carbó Menéndez, heralded the arrival in America of which would be considered "the invention of the century." A few months later, our biography decided to settle permanently in New York, then, was one of the most important places for Hispanic musicians.

In the big city ran an internship of twelve years (1947-1959) with the famous Cuban orchestra Pupi Campo, also a singer. However, in the meantime worked on recordings with the Lecuona Cuban Boys, Machito & His Afrocubans those led by Henry Burrow, Moncho Usera, Tito Puente and Tito Rodriguez, as well as Payo Alicea & Sexteto La Playa, Cuarteto Marcano and as noted at the outset, with the big band Cugat.

completes its cycle with Pupi Campo, this talented Puerto Rican was recruited by fellow Noro Morales, whose orchestra he worked in many U.S. cities and Puerto Rico. From 1959 until the death of that virtuoso pianist served permanently in the Hotel La Concha in San Juan, but maintained his official residence in New York. Subsequently, he was the lead vocalist for official Usera (1964-1965), headed his own combo and recorded as soloist and Musicor Seeco seals, as well as Steve Hernandez and His Latin Orchestra (1970). During the period 1971-1975 - in addition to often act outside his group - was common on the payroll of the band of Charlie Palmieri. He was credited with three blockbusters: the guarachas "The Girl" and "La hija de Lola" (original Raul Marrero) and the bolero "Owner of My Heart" by Pepe Delgado.

A best-selling album, "Sing love, whose production went Tito Puente and Joe Cain, was followed entitled" The messenger of love "(ASLP-6004), released by Alegre Records in 1975 and musical direction delegated to the Malvicino Horacio. Following those releases an old controversy flared based on the similarity of his style and his vocal timbre with Tito Rodriguez. Who is imitating whom? Such was the question that many fans of both longed to reveal. But in reality, none ever attempted to imitate the other. Everything was pure coincidence. It is recalled that in 1954, recording a shared disk with four songs on 33 rpm. And when everyone did their own, even the most fervent supporters of both found it difficult to differentiate. On the other hand, both Vitín as Tito, very young friends, enjoyed the controversy that had arisen around them and never one accused the other of trying to imitate it, but most collectors and connoisseurs would insist on that feature shorten the duration of the notes "dropping them" semi-talking and singing the melodies and the vocal timbre peculiar to guide the careers of Tito Rodriguez showed Vitín first Avilés.

Unfortunately, the company Fania - which had acquired the catalog Alegre - did not follow the impact of those productions that have aimed boleristic this great singer to the final consecration. In addition, New York, Puerto Rico, Venezuela and other major markets of restricted radio broadcasting of music to give way to romantic pop ballads, forcing him to concentrate on the salsa field. In Caracas in 1979 recorded the album with the Super Avilés Vitín Orchestra Venezuela "(Velvet, GS-3007), sharing vocals with Nelson and Nelson Pinedo Alizo, the latter, also a pianist, arranger and conductor of that band. From 80's devoted most of his musical activity into studio work, integrating the vocals on recordings by other artists. With some regularity is present in dance halls, accompanied by various ensembles. Avilés Vitín

married the lady Elizabeth Gonzalez in 1983. From his first marriage is the result Víctor Manuel Jr. (born 1944), who serves as the company mechanic Norelco. He has another son, Christopher (b. 1979), which is adopted. Until 2000, he recorded 50 albums as a singer and stellar orchestras as a soloist. His collaborations with other soloists and choirs incorporating salsa exceeded one hundred.

artist Mayaguez who met on the environment as "El Cantante del Amor" died on January 1, 2004 in a Manhattan hospital in the city of New York.

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Argentine pop balladeer (as defined by Rolling Stone), born Roberto Sánchez on August 19, 1945. His passion for music was born as a child when she loved to imitate the King of Rock, Elvis Presley, his idol. In 1960, Sandro formed his first band called "Trio Blue." Monaco When Augustine left the band, this became a duo (which was short) named "The Caribbean". Soon after, the singer was part of "The Poodles of Oklahoma," later called "The Fire." The Sandro first solo single, "Is this what you call love?", Was released in 1963, followed by the single "The Fire", "A lot of turmoil." The radical change was in 1967 when Sandra won first place in the "Buenos Aires Festival", singing his song "I want to fill you." Soon the singer would perform at the world's most important places such as Madison Square Garden in New York City in 1970. Its growing popularity made that in 1971 Sandro act against 60,000 in the Stade de San Lorenzo in Argentina.

His acting skills took him to play various roles in 16 movies (I went that I take you, boy, I want to fill you, etc.) And a Puerto Rican popular novel called "did not mean."

also had his own TV show in Argentina in the '90s. It was called "Dear Sandro," and aired on Channel 13. Sandro

The phenomenon gradually became myth, to the point that their talent is better known today than at its beginning.

Each new live show generates great expectations among the fans, an occasion in which the hero uses to beat more and more records.

also remains in force as long as thousands of fans each year to attend their neighborhood Banfield mansion to celebrate his birthday in crowd.



A unique artist, exceptionally to 40 years after its debut is entertaining as ever, and more thrilling than ever.

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is one of the most prolific Puerto Rican composers of the last half century. And one of the most songs has led to the top of popularity. Catalino Curet

Alonso was born in the pit area of \u200b\u200bthe municipality of Guayama English. His mother was a seamstress. His father was a musician in the orchestra of Simon Wood and English teacher. Being separated from their parents, Tite moved with his mother to Barrio Obrero de San Juan. And he recalls, when he sought money to her father, he gave back the letter, marked with appropriate correction of accents, and the request fulfilled.

His music career began with basic education in theory and music theory with Professor Jorge Rubio. His first steps in composition gave in New York in 1965 when Joe Quijano wrote their first songs.

Three years later, Tite composed the song "The great tyrant" for the Cuban bolero singer Roberto Ledesma. And to the failure to use the number on his part, was given the opportunity to tailor the song, a female version for the Cuban singer La Lupe.

"La tirana" Tite Curet turned into a popular feeling of the staff. And adding to the repertoire of the legendary performer "final Laughter" and "pure theater", the composer's career began to emerge Guayama big.

In 1969 the trio recorded her Los Andinos "stopped the clock", the Trio Los Condes scored a similar success with "Witchcraft" and Tito Rodriguez became a classic issues "Tremble" and "Don Fulano.

Coinciding with the rise of salsa movement in New York, Tite Curet Alonso became one of the greatest composers of the movement demand. His production with Jerry Massucci to mark the return of Cheo Feliciano to the song made history and produced such hits as "Anacaona", "My sad problem," "So that Afinque", "If my rain" and "cruel Openness" .

In 1971 Willie Colón gave the hit "Piranha." Months later came to Ray Barretto "I Witness" and "Better a guaguancó." His communion with gender afroantillano gave hits like "cute faces of my black people" and "From Anyway Roses "recorded by Ismael Rivera sonero," Journal of yesterday "as performed by Hector Lavoe," Planting in "made for Ruben Blades," The essence of guaguancó "sung by Pete" El Conde "Rodriguez and" lender "produced Teacher Rafael Cortijo.

However, his versatility as a composer has led him beyond the salsa to explore other genres as a composer. The produced ballad "Theme Nilsa" Johnny Olivo recorded it. In the merengue " I dominicaniso "for Los Hijos del Rey. On the stage he wrote for Tony Croatto neofolklore" Cucubano ", later recorded the international quintet Menudo. And his Christmas songs have been part of the repertoire of singers.

His presence in international competition was attended by Los Hermanos Castro in Rio Festival, where they performed their composition in Portuguese "And after the love." In Buga, Colombia, won first place with "Let the poet sing" who played Irma Bruno. In the Salsa Festival in Venezuela reached the summit position with "Sal health" by Cheo Feliciano. He has worked

English versions of many international issues. Gave English lyrics to "Limelight" by Charlie Chaplin Wilkins recorded his version of "If I Were a Rich Man" gave him a huge success Chucho Avellanet and worked the first English versions recorded by Nelson Ned.

His compositions have been part of the soundtrack of films like "Women on the Verge of a Nervous Breakdown", "Bad Habits" and "Godfather II."

Besides his work as composer, Tite Curet has developed an extensive journalism career through publications such as "Variety", "Stars", "El Mundo" Anchorman, "" See "and" El Vocero ". He has published the book "life itself" and maintains a weekly program on Radio Universidad.

Legendary Puerto Rican composer Catalino "Tite" Curet Alonso died on August 5, 2003 of a disease respiratory Baltimore. He was 77 years old.