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Ricardo Montaner

Among Latin pop’s steadier and much more seasoned performers, Ricardo Montaner specializes primarily in intimate ballads, though over time he proved himself unafraid to pursue divergent varieties of music and write tracks of varied natures. With regards to reputation, the Argentine-Venezuelan vocalist benefited significantly from his association with telenovelas, many of which highlighted his tracks as themes; nevertheless, he also documented stylish orchestral albums, furthermore to other likewise thematic albums, and he was critically respected for his workmanship and reliably high regular of work. Primarily, Montaner increased to popularity in Venezuela through the past due ’80s, scoring several strikes for Rodven Discos. Within the middle-’90s, he relocated to the main label EMI for any few artistically ambitious albums designed after Italian pop: Una Mañana con el Camino (1994) and Viene del Alma (1995). These albums weren’t received well by his group of fans, though, due to his pretensions just as much as due to EMI’s failure to advertise the albums well. Ever restless, Montaner relocated to Warner Music Latina with small hesitation and documented a grand comeback recording, Sera Así (1997). Third , triumph, Montaner documented several thematic albums for Warner, perhaps most obviously included in this an orchestral task, Con la London Metropolitan Orchestra (1999); a different cooperation with manufacturer Bebu Silvetti, Sueño Repetido (2001); an record of boleros, Suma (2002); along with a lyrically heartfelt cooperation with hitmaker Kike Santander, Prohibido Olvidar (2003). After that in 2005 Montaner came back to EMI, which released Todo con Nada (2005), another acclaimed record; it gained 2006 Latin Grammy nominations for Record of the entire year in addition to Song of the entire year (“Cuando a Mi Lado Estas”). Montaner was created as Héctor Eduardo Reglero Montaner on Sept 8, 1957, in the town of Avellaneda inside the province of Buenos Aires, Argentina. At age group seven, he shifted with his family members to Maracaibo, Venezuela, after his dad accepted employment with a phone business there. Montaner started his recording profession in the past due ’70s, independently documenting an record entitled Mares (1978). Cada Día (1983), his debut record for Venezuela’s largest record label, Rodven Discos, just enjoyed limited achievement in Venezuela and non-e whatsoever somewhere else. Ricardo Montaner (1987) and Ricardo Montaner, Vol. 2 (1988), alternatively, were quite effective and set up him as a favorite recording musician. The former record included a set of unforgettable Venezuelan telenovela designs, “Vamos a Dejarlo” (Esa Muchacha de Ojos Café) and “Yo Que Te Amé” (Enamorada), as the last mentioned record was his worldwide breakthrough, as strikes such as for example “Tan Enamorados,” “A Donde Va un Amor,” and “Sólo con un Beso,” in addition to “Tu Piano y Mi Guitarra,” a duet with Alejandro Lerner, produced a direct effect in neighboring countries such as for example Mexico, Colombia, and america. Montaner continuing his hitmaking the next decade, you start with the early-’90s albums El Toque de Misterio (1990), En un Ultimo Lugar del Mundo (1991), and Los Hijos del Sol (1992). A greatest-hits recording, Éxitos Y…Algo Mas (1993) capped off his association with Rodven (the Venezuelan label was subsequently purchased by Polygram, which went about reissuing these albums). In 1994 Montaner started a new stage of his documenting career, putting your signature on a agreement with EMI; he hoped to take pleasure from greater creative independence in addition to greater international acknowledgement. Both Una Mañana con el Camino (1994), which he co-wrote and co-produced himself, and its own follow-up, Viene del Alma (1995), an recording designed after Italian pop and documented in London and Madrid, certainly reflected his desire to have greater creative independence. These albums spawned some strikes, chiefly “Quisiera,” “No Te Pareces a Mi,” and “Soy Tuyo”; nevertheless, they sold relatively less than earlier albums. Montaner’s romantic relationship with EMI soured within the wake of the industrial downturn, and he relocated to Warner for his following recording, Sera Así (1997). Produced and co-written by Piero Cassano, this go back to even more traditional Latin pop revitalized Montaner’s profession instantly; specifically, the title monitor became a smash strike internationally. Con la London Metropolitan Orchestra (1999) arrived following, and it discovered him revisiting a few of his most remarkable tracks from days gone by, and a brand-new song, “Un Poder de Tu Amor,” which became his most recent international smash strike. Made by Bebu Silvetti, the record was perfectly received and continues to be a high light of his discography; actually, it was therefore successful, he came back towards the orchestral structure five years afterwards with Con la London Metropolitan Orchestra, Vol. 2 (2004). By this aspect, Montaner’s recording result had become regular and reliable, with regards to music in addition to commerce. Following the warm reception of Con la London Metropolitan Orchestra, Silvetti continued to be as his maker, and they documented Sueño Repetido (2001). Another smash hit solitary resulted, “Bésame,” therefore Montaner and Silvetti made a decision to go back to the studio room yet again, this time around documenting a bolero recording, Suma (2002), which presented another career spotlight, “Yo Puedo Hacer.” Notably even more personal with regards to lyrics than previous albums, Prohibido Olvidar (2003) was a switch of speed for Montaner, as he collaborated with hitmaker Kike Santander, a manufacturer/songwriter who increased to fame along with his work with Gloria Estefan, Thalía, and Olga Tañon within the 1990s. Prohibido Olvidar included the strikes “Que Ganas” and “Desesperanza.” As well as the aforementioned second level of the London Metropolitan Orchestra series, Montaner released several other secondary functions through the mid-2000s as his Warner agreement contacted its end: a Portuguese-language record, Em fun??o de Meus Amigos (2003), along with a tropical/dance record, Tengo Verano (2005). Montaner came back to EMI for his following conventional record, Todo con Nada (2005). Co-written by Pablo Manavello and Santiago Castillo, the record was highly expected and critically lauded; it gained two Latin Grammy nominations: one for Record of the entire year and another for Tune of the entire year (“Cuando a Mi Lado Estas”). Among Montaner’s greatest albums up to now, Todo con Nada came back him towards the limelight, and his record brands, past in addition to present, attemptedto profit from his visible. Warner released a set of compilations: Todas las No. 1 de Ricardo Montaner (2006), including his biggest strikes during his period using the label, from 1997 until 2005; and Lo Mejor: Con la London Metropolitan Orchestra (2005), which put together the shows of his two albums using the London Metropolitan Orchestra. EMI released Edicion Limitada (2006), which put together the very best of Montaner’s middle-’90s work with the label: Una Mañana con el Camino and Viene del Alma. EMI furthermore released a special model of Todo con Nada in 2006, adding a trio of reward tracks, among that was “Heridas de Amor,” a favorite telenovela theme tune performed by Montaner. His 2007 providing, Todas las Mejores Canciones del Mundo, was made by Adrian Posse and highlighted the singles “Hoy Tengo Ganas de Ti,” “Nostalgias [Argen Versión],” and “Échame a Mí la Culpa” (offering Juanes). It positioned on the Scorching Latin Albums graph. A second quantity appeared the next year. Todas las Mejores Canciones del Mundo II: Y Algunas Mías…! included the charting singles “Cuando el Amigo Se Va” and “Besame” in duet with Pasion Vega. His 2009 record, Todas las Cosas Kid Como Son, arrived at amount seven in the Latin Pop Albums graph. From past due that 12 months through 2011 Montaner toured relentlessly, issuing a set of live albums along with a strikes bundle. He didn’t launch another recording of fresh studio room materials until 2012’s Viajero Frecuente; it peaked at number 4 within the Latin Pop Albums and 12 at the top Latin Albums graphs. A live audio and video arranged from your tour was released the following 12 months as Viajero Frecuente: Destino México. The 2014 studio room recording Agradecido continuing his graph run and positioned at amount ten at the top Latin Albums graph. The vocalist and songwriter released Ida y Vuelta in nov 2016. A twist in the addresses record idea, its first half highlighted his variations of music by other performers. On the next, those same performers performed in duet with him on reworkings of his very own music.

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