The artist was a precursor of the Sephardic song and gave her voice to the Latin American songbook. He also taught.
The singer, songwriter and pedagogue Dina Rot He died in Buenos Aires at the age of 88, during the afternoon of this Wednesday, October 28, as a result of a lung condition that could have been a derivation of the Covid-19 that he suffered months ago, although asymptomatically.
Mother of the actress Cecilia Roth and the guitarist and composer Ariel Rot, she was a pioneer artist of the Sephardic song with twelve albums released, among them, Popular songs, Anonymous Sephardic ballads (1970), One Manu Tumo L ‘Another (1997), I sing to the poets (1971) and Good week (2001).
Dina Gutkin Saposnik was born on March 5, 1932, in Mendoza; started his musical studies in Santiago de Chile, with Lidia Kinderman with whom he developed classical singing and later, already in Buenos Aires, study opera at the Teatro Colón, music at the Collegium Musicum and music therapy, at the University of El Salvador.
Between 1962 and 1966 her research work took her to Spain, where she soaked up the popular spanish romancero and especially, of the old anonymous romances of the Sephardic songbook, with which he fell in love.
“First I was interested in chamber music, then lyrical singing, but later I felt that it was not all that I was looking for; I found in the Spanish ballads what I was looking for and compiled a very rich material from the medieval Christian, Moorish and Hebrew minstrels prior to the inquisition. He knows that these songs brought together my Spanish Republican and Francoist friends… That’s what this music has, ”Rot pointed out in an interview.
To that musical world he added the Latin American popular song. First, in 1967, with the composer Jorge Schussheim, who musicalized poems by Pedro Orgambide, César Vallejo, Gabriela Mistral, Violeta Parra, Raúl González Tuñón and Juan Gelman, among others.
Shortly after, in June 1968, at the Payró Theater, they presented the show Appeal: songs of love, jail and hope, with texts by Thomas Mann, Bertold Brecht, Anna Frank and Federico García Lorca. This attitude committed to her time later forced her to go into exile to Spain, along with her two children, when It was banned in times of the last Military Dictatorship, for having sung a poem by Juan Gelman on the official channel.
In Spain he decided to abandon singing to dedicate himself fully to teaching. “The decision to abandon singing was absolutely conscious. Starting from scratch in a place other than one’s own meant many injuries, and I sensed that the song would not come out smoothly. So, I left it behind, “he said in an interview given to La Nación. The song for Rot then fell into the background.
However, in 1995, almost twenty years after being exiled, the teacher received at her home in Madrid 28 poems by Juan Gelman and Clarisse Nicoidsky in Sephardic. The message decidedly broke that firm decision not to sing again. He defined this moment as “a beautiful magic wheel.”
A year later, in March 1997, Rot premiered in Madrid those poems under the title One manu tumó L’other, with music by Eduardo Laguillo, and in May he presented them at the Book Fair in Buenos Aires, where he also gave a series of performances in the Pablo Picasso room, on Paseo La Plaza, with Fito Páez, then his son-in-law, as a guest.
The next step was the Buenos Aires premiere of his show Between privacy and good taste, in which he gathered poetry of a varied thematic breadth, such as Nana from Andalusia, I died of air, Farewell to a soldier, Plum Song, Passing love Y The worm. It was that time in which the singer gained intimacy by being accompanied by guitarist Esteban Morgado, a meeting where that intimacy was the prevailing atmosphere of the show.
In 2001, Dina Rot released the album Good week, accompanied by Morgado on guitar, Facundo Guevara on percussion and Damián Bolotín on violin, among others, with the participation of María Elena Walsh and actress Norma Leandro. “I wanted to sing today, with my current voice, those songs that I recorded thirty years ago. I wondered which songs in my repertoire had survived and which I could not do again. I did an important study of what I had and some survived”, he then counted Clarion.
In 2006, he published Live the voice, edited by Lumen, in which Rot explained his method of sound exploration. An integral artist who made sensitivity an unalterable value throughout her musical and teaching career, in which she exhibited a balanced combination of elegance and good taste.