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Dolores Vargas
Dolores Vargas
Dolores Vargas
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Key Information

María Dolores Castellón Vargas (16 May 1936 – 7 August 2016) was a Spanish singer.[1] When she was young she went to sing to the theatre Teatro Calderón of Madrid. She sang alongside her brother, Enrique. Later she appeared on television, notably A la española, directed by Valerio Lazarov (1971).[2]

Her real popularity came with the song Achilipú (The song below).[3]

Personal life

[edit]

When her husband died in 1987 she retired. She died in Valencia on 7 August 2016 from complications of leukemia at age 80.[4]

References

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Dolores Vargas

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Dolores Vargas was a Spanish flamenco singer, dancer, and actress known for her powerful voice, frenzied stage presence, and pioneering fusion of traditional flamenco and rumba with pop, rock, soul, and funk elements during the 1960s and 1970s. Nicknamed "La Terremoto" ("The Earthquake") due to her explosive energy and dynamic performances, she earned recognition as a key figure in evolving Spanish gypsy music genres and achieved commercial peaks with tracks such as "Achilipú" and a Spanish number-one cover of "Chirpy Chirpy Cheep Cheep." Born María Dolores Castellón Vargas on May 16, 1936, in Barcelona, she grew up in a musical family and made her professional debut as a teenager performing alongside her brother Enrique Vargas "El Príncipe Gitano." She married guitarist and composer José Castellón in 1958, and he became a central collaborator, writing many of her songs throughout her career. Vargas began her recording career in the late 1950s, initially releasing material in the United States, before signing with Spanish labels Belter and Polydor, where her style modernized significantly from the mid-1960s onward. Her most acclaimed period came in the early 1970s, marked by innovative releases blending gypsy rumba with contemporary rhythms, including "La Piragua," "Anana Hip," and "Macarrones." She also appeared as an actress in Spanish films during the 1950s through 1970s, often in folkloric roles, and contributed songs to film and television soundtracks. Vargas retired from music in 1987 following her husband's death and lived quietly thereafter until her own death on 7 August 2016 in Valencia. Her work later gained renewed appreciation among collectors and music enthusiasts for its forward-thinking approach to flamenco fusion, influencing subsequent generations in Spanish popular music.

Early life

Birth and family background

María Dolores Castellón Vargas was born on May 16, 1936, in Barcelona, Catalonia, Spain. She was the sister of singer and actor Enrique Castellón Vargas, better known by his stage name El Príncipe Gitano. Dolores Vargas belonged to a Gitano family with a strong tradition of artists in flamenco and related performing arts, part of the Castellón Vargas dynasty that included multiple performers across generations.

Early performances

Dolores Vargas began her artistic career at a young age in Madrid, where she grew up after being born in Barcelona into a family of gitano artists. Her brother Enrique Castellón Vargas, known as El Príncipe Gitano, became her early collaborator, and another brother, Juan José Castellón Vargas, provided guitar accompaniment. At fifteen years old, she made her stage debut at the Teatro Calderón in Madrid, performing alongside her brother in the show Su alteza, el pirata, which he headlined. There, she sang early copla-influenced pieces such as Penas de la gorriona and Málaga bella, reflecting her immersion in Andalusian folklore traditions through family and performance. She initially stood out as a bailaora, drawing the attention of Carmen Amaya, who dubbed her "La Pimienta" for the fiery intensity of her dance and declared, "Después de mí, estará ella." This early recognition highlighted her roots in flamenco expression before she expanded her work. In the early 1950s, she recorded her first songs, including Chufliyas del tiquití and María Mercé, marking her shift toward a more professional entertainment career independent of her brother's projects.

Music career

Breakthrough and rise to fame

Dolores Vargas rose to prominence in the Spanish popular music scene during the 1960s, when she became widely recognized for her dynamic performances in variety revues that blended flamenco, copla, and contemporary rhythms. She acquired her enduring nickname "La Terremoto" from the title of an early bulerías composition, Bulerías de La Terremoto, written by the songwriting trio Ochaíta, Solano, and Valerio specifically for her initial shows, reflecting her powerful and energetic stage presence. This moniker captured her forceful, nature-like intensity as a performer, often described as an "auténtica fuerza de la naturaleza" with an "estilo arrollador." In 1963, she presented two major revues, El tío, tío and Caracoles Twist, which helped solidify her visibility in the variety circuit. Her work incorporated copla, a traditional form rooted in Andalusian folklore, with notable composers such as Rafael de León and Juan Solano creating pieces for her, contributing to her association with this style despite her Catalan gitano background and her versatile mixing of genres including rumba catalana. Her popularity peaked throughout the 1960s and 1970s, during which she established herself as a distinctive and unclassifiable gitana artist known for her visceral delivery and original approach that broke traditional boundaries.

Signature songs and style

Dolores Vargas, known as La Terremoto, became widely recognized for her 1971 hit "Achilipú," a song she co-composed with her husband José Castellón that emerged as her definitive signature piece and a landmark in the commercial rise of rumba catalana. The track achieved massive popularity during the summer of 1971 and has since been covered by numerous artists including Rocío Jurado, Las Grecas, and El Gran Combo de Puerto Rico, cementing its cultural impact within Spanish popular music. Her nickname "La Terremoto" originated from an earlier composition, "Bulerías de La Terremoto," created for her by José Antonio Ochaíta, Xandro Valerio, and Juan Solano. Vargas's other key songs include "A tu vera," reportedly written for her by Rafael de León and Juan Solano though later popularized by Lola Flores, as well as "El Cristo de los Faroles" and "¡A la pelota!," which appear among her soundtrack contributions across films and television. Her repertoire extended to diverse genres beyond rumba catalana, incorporating flamenco forms like bulerías, traditional copla, bolero, cha-cha-chá, and twist, often performed in 1950s and 1960s variety shows that blended singers, dancers, and humorists in the style of ópera flamenca. Her performance style was defined by an imposing temperament and unmistakable "gitanería" expressed through both singing and dancing, infusing all genres with a strong personal character that resisted straightforward classification as purely flamenco, copla, or popular music. This distinctive approach, comparable in uniqueness to that of Lola Flores, allowed her to dominate varied styles with her animated presence and artistic individuality. "Achilipú" has continued to appear in media posthumously, including films such as Daliland (2022) and television programs.

Acting career

Film roles

Dolores Vargas had a limited but notable acting career in feature films, primarily in Spanish and French productions with folkloric and musical themes that aligned with her identity as a flamenco singer. Her film debut occurred in the 1954 French-Spanish co-production Nuits andalouses, directed by Maurice Cloche, where she portrayed the character Azucena. She followed this with an appearance in the 1956 Spanish film Veraneo en España, credited as Dolores Vargas. In 1957, she took the role of Rosario in Torero por alegrías, another Spanish production centered on bullfighting and flamenco elements. Her final credited film role came in Un torero para la historia (1974), where she appeared as an actress in a supporting capacity. These appearances, though few in number, often featured or complemented her singing talents within the context of the films' cultural and musical narratives.

Soundtrack contributions

Dolores Vargas contributed to various film and television soundtracks, most notably through performances of her distinctive songs. In the 1966 film Los duendes de Andalucía, she performed "A tu vera," "El Cristo de los Faroles," and "Los gitanos de Castilla." Her song "Achilipú," which she originally performed, has seen posthumous use in modern productions. It was featured in the 2022 film Daliland, credited to her as both writer and performer. In the 2018 television mini-series Arde Madrid, she is credited as the performer of "¡A la pelota!" Additional placements of "Achilipú" include the 2023 film Los buenos modales and the 2023 television series Mentiras pasajeras.

Television and variety performances

Key TV appearances

Dolores Vargas, known as "La Terremoto," was a performer on Spanish television variety and musical programs during the 1970s, where her dynamic rumba and flamenco interpretations reached broad audiences on TVE. Her appearances often featured her signature energetic style and included both original hits and adapted popular songs. One of her most notable television appearances was in the 1971 TV special A la española, directed by Valerio Lazarov. The program featured performers adapting international hits to Spanish flamenco and rumba styles while wandering through Barcelona, and Vargas performed "(Where Do I Begin) Love Story." She also performed in the 1975 New Year's Eve special Gran Especial 'Feliz Año Nuevo', singing "Aninonay" and "Se va a Covadonga." In a 1978 episode of the flamenco series Cantares, aired on June 23, 1978, Vargas was interviewed by Lauren Postigo and performed "Tío, tío," "La borracha," "Soledad," "A tu vera," and "Artista mentira y artista verdad," with her brother Enrique Vargas "El Príncipe Gitano" also appearing. These specials and programs, including some directed by Valerio Lazarov, showcased her contributions to television variety formats and helped popularize her distinctive performances in a televised context.

Personal life

Marriage and retirement

Dolores Vargas married her cousin José Castellón, a guitarist and composer who served as her longtime musical collaborator and accompanist. The couple had one daughter. Castellón died in May 1987. Following her husband's death, Vargas retired from professional performing that same year, unable to continue without his guitar accompaniment on stage. She subsequently limited her singing to church services despite offers for professional engagements.

Death

Circumstances

Dolores Vargas died on August 7, 2016, at the age of 80 due to complications from leukemia. The artist passed away in Valencia, Spain, where she had been living in the nearby town of Xirivella during her later years. Contemporary reports from August 2016, including coverage in El País published the day after her passing, confirm the date as August 7, describing it as a Sunday. However, her IMDb profile records the date of death as August 8, 2016, and specifies the location as Xirivella, València, Comunitat Valenciana, Spain. This minor discrepancy appears in some records, though most period sources align on August 7. No further details on the precise timing or hospital circumstances are consistently detailed across sources.

Legacy

Posthumous recognition

Songs by Dolores Vargas have continued to appear in film and television productions in the years following her active career. Her performance of "¡A la pelota!" was used in the 2018 TV mini-series Arde Madrid. More recently, "Achilipú" was included in the 2022 biographical film Daliland, crediting Vargas as both performer and writer of the track. The song also appeared in the 2023 film Los buenos modales and in an episode of the TV series Mentiras pasajeras that same year.
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