{"id":25033,"date":"2025-03-07T08:29:29","date_gmt":"2025-03-07T14:29:29","guid":{"rendered":"https:\/\/mickyandoniehn.com\/radio\/?p=25033"},"modified":"2025-03-22T09:56:43","modified_gmt":"2025-03-22T15:56:43","slug":"lola-beltran","status":"publish","type":"post","link":"http:\/\/mickyandoniehn.com\/radio\/2025\/03\/07\/lola-beltran\/","title":{"rendered":"Lola Beltr\u00e1n"},"content":{"rendered":"

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Fecha de Nacimiento:<\/strong> 7 de marzo de 1932<\/p>\n

Fecha de Fallecimiento:<\/strong> 24 de marzo de 1996<\/p>\n

Biograf\u00eda:<\/strong><\/p>\n

Mar\u00eda Lucila Beltr\u00e1n Ruiz naci\u00f3 en Rosario, Sinaloa, M\u00e9xico el 7 de marzo de 1932.12 Beltr\u00e1n estudiaba comercio para ser secretaria junto a su primo Mat\u00edas Beltr\u00e1n, adem\u00e1s de participar en concursos musicales. Varias fuentes apuntan que realiz\u00f3 un viaje a la Ciudad de M\u00e9xico para visitar la Bas\u00edlica de Guadalupe en compa\u00f1\u00eda de su madre. Una vez en la ciudad, se hospedaron en un hotel cerca de los estudios de la XEW, a d\u00f3nde se acerc\u00f3 en busca de una oportunidad. Ah\u00ed conoci\u00f3 a Miguel Aceves Mej\u00eda quien la recomend\u00f3 al director art\u00edstico de la estaci\u00f3n, Amado C. Guzm\u00e1n. Ir\u00f3nicamente, este hombre no se mostr\u00f3 interesado por la voz de Lola por lo que le ofreci\u00f3 trabajo como su secretaria.<\/p>\n

En esa estaci\u00f3n de radio, fue descubierta y apoyada por la gran cantante Matilde S\u00e1nchez “La Torcacita”. Un d\u00eda, La Torcacita, estrella principal del programa musical As\u00ed es mi tierra, fue contratada en una gira a Centroam\u00e9rica, por lo que tuvo que abandonar las grabaciones. Este programa fue fundamental en el desarrollo de las carreras de varios int\u00e9rpretes de la m\u00fasica ranchera, y aunque fue creado por Eulalio Ferrer, su director musical era el m\u00fasico Tata Nacho.<\/p>\n

Algunos a\u00f1os despu\u00e9s, en una entrevista Eulalio Ferrer record\u00f3: \u00abNos faltaba una int\u00e9rprete para el programa. Amado C. Guzm\u00e1n me coment\u00f3 sobre su secretaria, una muchacha llamada Lucila Beltr\u00e1n que ven\u00eda del norte y que ten\u00eda una voz muy buena. Al conocerla la llev\u00e9 con Tata Nacho para que le hiciera una prueba\u00bb.<\/p>\n

Tata Nacho consider\u00f3 que Lola estaba lista y as\u00ed fue como ingres\u00f3 al elenco de As\u00ed es mi tierra. Pero antes, la bautizaron profesionalmente como Lola Beltr\u00e1n, tambi\u00e9n conocida como “Lola la Grande”, “La reina de la canci\u00f3n ranchera”, “La se\u00f1ora de las rancheras”, “La hija de la patria”.<\/p>\n

Como escribi\u00f3 Carlos Monsiv\u00e1is: \u00abA Lola Beltr\u00e1n le toca el reconocimiento cultural a g\u00e9neros antes menospreciados. Ya le corresponde acompa\u00f1ar a los presidentes de M\u00e9xico\u00bb. Su voz se vuelve una instituci\u00f3n oficial. El escritor Salvador Novo le da un poema para que lo haga canci\u00f3n (\u00abLa cuenta perdida\u00bb). El pintor Rufino Tamayo le da un tema (\u00abFlorecita de ejote\u00bb).<\/p>\n

Carlos Fuentes la presenta en uno de sus conciertos en Bellas Artes y Gabriel Garc\u00eda M\u00e1rquez la elogia. Lo mismo canta en Bellas Artes que en las casas de Jos\u00e9 Luis Cuevas, Ra\u00fal Velasco o Anthony Quinn. Elena Poniatowska dice en torno a ella que la voz de M\u00e9xico es femenina y Guadalupe Loaeza escribe sobre el lenguaje de sus manos. La m\u00edtica Sophia Loren se acerca al escenario en medio concierto en el Olimpia de Par\u00eds para homenajearla con un ramo de rosas. Ricardo Rocha expresa que solo Lola canta con la piel, con las manos, con el coraz\u00f3n. Y entre sus amistades se encuentran Juan Soriano y Octavio Paz que no dejan de admirarla.<\/p>\n

Y Mstislav Rostropovich no comienza un concierto en Par\u00eds hasta que ella llegue y Pedro Almod\u00f3var usa uno de sus temas a manera de leit motiv en su pel\u00edcula Mujeres al borde de un ataque de nervios.<\/p>\n

Wikipedia in English<\/strong><\/p>\n

Date of Birth:<\/strong> March 7, 1932<\/p>\n

Date of Died:<\/strong> March 24, 1996<\/p>\n

Biography:<\/strong><\/p>\n

Mar\u00eda Lucila Beltr\u00e1n Ruiz was born in Rosario, Sinaloa, Mexico on March 7, 1932.12 Beltr\u00e1n was studying commerce to be a secretary with her cousin Mat\u00edas Beltr\u00e1n, in addition to participating in musical contests. Several sources point out that she made a trip to Mexico City to visit the Basilica of Guadalupe in the company of her mother. Once in the city, she stayed in a hotel near the XEW studios, where she approached in search of an opportunity. There she met Miguel Aceves Mej\u00eda who recommended her to the station’s artistic director, Amado C. Guzm\u00e1n. Ironically, this man was not interested in Lola’s voice so he offered her a job as her secretary.<\/p>\n

In that radio station, she was discovered and supported by the great singer Matilde S\u00e1nchez “La Torcacita”. One day, La Torcacita, main star of the musical program As\u00ed es mi Tierra, was hired on a tour to Central America, for which she had to abandon the recordings. This program was fundamental in the development of the careers of several ranchera music performers, and although it was created by Eulalio Ferrer, its musical director was the musician Tata Nacho.<\/p>\n

Some years later, in an interview, Eulalio Ferrer recalled: \u00abWe needed an interpreter for the program. Amado C. Guzm\u00e1n told me about his secretary, a girl named Lucila Beltr\u00e1n who came from the north and that she had a very good voice. When I met her, I took her to Tata Nacho so that he could do a test on her\u00bb.<\/p>\n

Tata Nacho considered that Lola was ready and that’s how he entered the cast of As\u00ed es mi tierra. But before her, she was professionally baptized as Lola Beltr\u00e1n, also known as “Lola la Grande”, “The queen of the ranchera song”, “The lady of the rancheras”, “The daughter of the country”.<\/p>\n

As Carlos Monsiv\u00e1is wrote: \u00abLola Beltr\u00e1n is up to the cultural recognition of previously underestimated genres. She is already responsible for accompanying the presidents of Mexico \u00bb. Her voice becomes an official institution. The writer Salvador Novo gives him a poem to make it a song (“The Lost Account”). The painter Rufino Tamayo gives it a theme (“Florecita de ejote”).<\/p>\n

Carlos Fuentes presents her at one of her concerts in Bellas Artes and Gabriel Garc\u00eda M\u00e1rquez praises her. She sings the same in Fine Arts as in the houses of Jos\u00e9 Luis Cuevas, Ra\u00fal Velasco or Anthony Quinn. Elena Poniatowska says around her that the voice of Mexico is feminine and Guadalupe Loaeza writes about the language of her hands. The mythical Sophia Loren approaches the stage in the middle of a concert at the Olympia in Paris to honor her with a bouquet of roses.<\/p>\n

Ricardo Rocha expresses that only Lola sings with her skin, with her hands, with her heart. And among her friends are Juan Soriano and Octavio Paz who do not stop admiring her. And Mstislav Rostropovich doesn’t start a concert in Paris until she arrives and Pedro Almod\u00f3var uses one of her songs as a leitmotif in his film Women on the Verge of a Nervous Breakdown.<\/p>\n

Discografia<\/strong><\/p>\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n
Genero Regional Mexicano<\/strong><\/td>\nEscuchar tema<\/strong><\/td>\nA\u00f1o de Publicaci\u00f3n<\/strong><\/td>\n<\/tr>\n
<\/td>\nMejor Que Nunca!<\/strong><\/td>\n1969<\/strong><\/td>\n<\/tr>\n
1<\/td>\nEsa<\/td>\n<\/td>\n<\/tr>\n
2<\/td>\nDulce Venganza<\/td>\n<\/td>\n<\/tr>\n
3<\/td>\nMi Golondrina<\/td>\n<\/td>\n<\/tr>\n
4<\/td>\nEspumas<\/td>\n<\/td>\n<\/tr>\n
5<\/td>\nSoy Infeliz<\/td>\n<\/td>\n<\/tr>\n
6<\/td>\nDe Pu\u00f1o Y Letra<\/td>\n<\/td>\n<\/tr>\n
7<\/td>\nSoy El Beso<\/td>\n<\/td>\n<\/tr>\n
8<\/td>\nQuisiera Olvidarme De Ti<\/td>\n<\/td>\n<\/tr>\n
9<\/td>\nDe Aqui P’al Real<\/td>\n<\/td>\n<\/tr>\n
10<\/td>\nCada Copa<\/td>\n<\/td>\n<\/tr>\n
11<\/td>\nTengo Que Acostumbrarme<\/td>\n<\/td>\n<\/tr>\n
12<\/td>\nPajaro Que Vuela<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nLola Beltr\u00e1n Canta Las Canciones Mas Bonitas de Jose Alfredo Jim\u00e9nez<\/strong><\/td>\n1969<\/strong><\/td>\n<\/tr>\n
1<\/td>\nSi Nos Dejan<\/td>\n<\/td>\n<\/tr>\n
2<\/td>\nDame Un Poco De Ti<\/td>\n<\/td>\n<\/tr>\n
3<\/td>\nLa Retirada<\/td>\n<\/td>\n<\/tr>\n
4<\/td>\nCuatro Caminos<\/td>\n<\/td>\n<\/tr>\n
5<\/td>\nSi Tu Tambi\u00e9n Te Vas<\/td>\n<\/td>\n<\/tr>\n
6<\/td>\nCamino De Guanajuato<\/td>\n<\/td>\n<\/tr>\n
7<\/td>\nPueblo Chico<\/td>\n<\/td>\n<\/tr>\n
8<\/td>\nLa Mano De Dios<\/td>\n<\/td>\n<\/tr>\n
9<\/td>\nEl Siete Mares<\/td>\n<\/td>\n<\/tr>\n
10<\/td>\nCoraz\u00f3n, Coraz\u00f3n<\/td>\n<\/td>\n<\/tr>\n
11<\/td>\nJes\u00fas Maldonado<\/td>\n<\/td>\n<\/tr>\n
12<\/td>\nLa Media Vuelta<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nLlanto y coraje\u00a01970<\/strong><\/td>\n1970<\/strong><\/td>\n<\/tr>\n
1<\/td>\n\u00abAlbur de amor\u00bb<\/td>\n<\/td>\n<\/tr>\n
2<\/td>\n\u00abLlanto y coraje\u00bb<\/td>\n<\/td>\n<\/tr>\n
3<\/td>\n\u00abLa cuenta perdida\u00bb<\/td>\n<\/td>\n<\/tr>\n
4<\/td>\n\u00abSimplemente\u00bb<\/td>\n<\/td>\n<\/tr>\n
5<\/td>\n\u00abNoches sin luna\u00bb<\/td>\n<\/td>\n<\/tr>\n
6<\/td>\n\u00abCara al cielo\u00bb<\/td>\n<\/td>\n<\/tr>\n
7<\/td>\n\u00abLa chapucera\u00bb<\/td>\n<\/td>\n<\/tr>\n
8<\/td>\n\u00abCuando me digas que te vas\u00bb<\/td>\n<\/td>\n<\/tr>\n
9<\/td>\n\u00abSufriendo a solas\u00bb<\/td>\n<\/td>\n<\/tr>\n
10<\/td>\n\u00abNo soy ave de paso\u00bb<\/td>\n<\/td>\n<\/tr>\n
11<\/td>\n\u00abNo te atrever\u00e1s\u00bb<\/td>\n<\/td>\n<\/tr>\n
12<\/td>\n\u00abTarde o temprano\u00bb<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nLa Gran Lola de M\u00e9xico\u00a01971<\/strong><\/td>\n1971<\/strong><\/td>\n<\/tr>\n
1<\/td>\n\u00abQuisiera olvidarme de ti (con mariachi).<\/td>\n<\/td>\n<\/tr>\n
2<\/td>\n\u00abYo deb\u00ed enamorarme de tu padre\u00bb<\/td>\n<\/td>\n<\/tr>\n
3<\/td>\n\u00abMe est\u00e1s acabando\u00bb<\/td>\n<\/td>\n<\/tr>\n
4<\/td>\n\u00abEs muy tu vida\u00bb<\/td>\n<\/td>\n<\/tr>\n
5<\/td>\n\u00abPaloma color de rosa\u00bb<\/td>\n<\/td>\n<\/tr>\n
6<\/td>\n\u00abPuerta cerrada\u00bb<\/td>\n<\/td>\n<\/tr>\n
7<\/td>\n\u00abOh gran Dios\u00bb<\/td>\n<\/td>\n<\/tr>\n
8<\/td>\n\u00abSan Jer\u00f3nimo\u00bb<\/td>\n<\/td>\n<\/tr>\n
9<\/td>\n\u00abPu\u00f1al de mi orgullo\u00bb<\/td>\n<\/td>\n<\/tr>\n
10<\/td>\n\u00abEl sismo\u00bb<\/td>\n<\/td>\n<\/tr>\n
11<\/td>\n\u00abPor alguien\u00bb<\/td>\n<\/td>\n<\/tr>\n
12<\/td>\n\u00abMi ranchito\u00bb<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n
<\/td>\nLola la Grande\u00a0<\/strong><\/td>\n1976<\/strong><\/td>\n<\/tr>\n
1<\/td>\nCucurrucucu Paloma<\/td>\n<\/td>\n<\/tr>\n
2<\/td>\nOh Gran Dios<\/td>\n<\/td>\n<\/tr>\n
3<\/td>\nEl Aguacero<\/td>\n<\/td>\n<\/tr>\n
4<\/td>\nAlbur De Amor<\/td>\n<\/td>\n<\/tr>\n
5<\/td>\nLa Cigarra<\/td>\n<\/td>\n<\/tr>\n
6<\/td>\nPopurr\u00ed Ranchero<\/td>\n<\/td>\n<\/tr>\n
7<\/td>\nHuapango Torero<\/td>\n<\/td>\n<\/tr>\n
8<\/td>\nGorrioncillo Pecho Amarillo<\/td>\n<\/td>\n<\/tr>\n
9<\/td>\nTres D\u00edas<\/td>\n<\/td>\n<\/tr>\n
10<\/td>\nMi Ranchito<\/td>\n<\/td>\n<\/tr>\n
11<\/td>\nSoy Infeliz<\/td>\n<\/td>\n<\/tr>\n
12<\/td>\nGolondrina Presumida<\/td>\n<\/td>\n<\/tr>\n
<\/td>\n<\/td>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

https:\/\/es.wikipedia.org\/wiki\/Lola_Beltr%C3%A1n<\/a><\/p>\n