El canto y la palabra

El canto y la palabra is a warm, unhurried interview program for listeners who want to hear artists speak from inside their own work. The center is conversation. La Negra Chagra welcomes musicians, composers, poets, singers, and performers, then starts with the kind of question that sounds simple until it opens a whole life: how did the music begin? From there, the episodes move by memory, not by hurry. A childhood guitar leads to family stories. A charango arrangement leads to Atahualpa, harmony, and the problem of making an instrument carry more than expected. A song about suffering turns toward hope, because Héctor Esteban País speaks of social pain and still insists on the need to imagine a way through. Alex Pandev brings theater, women’s stories, comedy, performance, and the difficulty of acting in another mother tongue into the same intimate space. José María Saluzzi speaks from a family marked by music, with guitar, composition, travel, and the legacy of Dino Saluzzi nearby but not flattened into nostalgia. Omar Giammarco brings the city with him, where tango, milonga, candombe, narrative songwriting, humor, and darkness can sit inside the same song. Cecilia Zabala’s episode follows guitar and voice as they become one path, shaped by listening, study, cassettes, arrangements, and the feeling of music passing through the body. The format leaves space around playback. Songs are introduced, heard, and then folded back into the talk, so the listener gets both the story and the sound. The show’s appeal is its closeness: it treats artistic formation as something made from family, places, teachers, obsessions, detours, and repeated returns to the instrument. It is not glossy arts coverage. It is a studio conversation with patience, affection, and enough musical vocabulary to honor the work without sealing it behind theory.