Mercedes Sosa

In this Spanish name, the first or paternal surname is Sosa and the second or maternal surname is Girón.

Haydée Marta Mercedes Sosa Girón (9 July 1935 – 4 October 2009) was an Argentine singer who was popular throughout Latin America and many countries outside the region. With her roots in Argentine folk music, Sosa became one of the preeminent exponents of El nuevo cancionero. She gave voice to songs written by many Latin American songwriters. She was hailed as the "voice of the voiceless ones", and often called "the conscience of Latin America".

Sosa performed in venues such as the Lincoln Center in New York City, the Théâtre Mogador in Paris, the Sistine Chapel in Vatican City, as well as sold-out shows in New York's Carnegie Hall and the Roman Colosseum during her final decade of life. Her career spanned four decades and she was the recipient of six Latin Grammy awards (2000, 2003, 2004, 2006, 2009, 2011), including a Latin Grammy Lifetime Achievement Award in 2004 and two posthumous Latin Grammy Award for Best Folk Album in 2009 and 2011. She won the Premio Gardel in 2000, the main musical award in Argentina. She served as an ambassador for UNICEF.

Sosa was born on 9 July 1935, in San Miguel de Tucumán, in the northwestern Argentine province of Tucumán, of mestizo ancestry. She was of French, Spanish and Diaguita descent. Her nickname "la negra", which is a common nickname in Argentina for people with darker complexion, is a reference to her indigenous heritage. Her parents, a day laborer and a washerwoman, were Peronists, although they never registered in the party, and she started her career as a singer for the Peronist Party in Tucuman under the name Gladys Osorio. In 1950, at age fifteen, she won a singing competition organized by a local radio station and was given a contract to perform for two months. She recorded her first album, La Voz de la Zafra, in 1959. A performance at the 1965 Cosquín National Folklore Festival—where she was introduced and brought to the stage while sitting in the audience by fellow folk singer Jorge Cafrune— brought her to the attention of the Argentine public. Sosa and her first husband, Manuel Oscar Matus, with whom she had one son, were key players in the mid-60s nueva canción movement (which was called nuevo cancionero in Argentina). Her second record was Canciones con Fundamento, a collection of Argentine folk songs.

Sosa "spent the late 1960s building her audience in Europe and among the cosmopolitan middle class in Buenos Aires, becoming in the process a much bigger star" than her contemporaries. In 1967, Sosa toured the United States and Europe with great success.^{[citation needed]} In later years, she performed and recorded extensively, broadening her repertoire to include material from throughout Latin America.

In the early 1970s, Sosa released two concept albums in collaboration with composer Ariel Ramírez and lyricist Félix Luna: Cantata Sudamericana and Mujeres Argentinas (Argentine Women). She also recorded a tribute to Chilean musician Violeta Parra in 1971, including what was to become one of Sosa's signature songs, Gracias a la vida. She further popularized of songs written by Milton Nascimento of Brazil and Pablo Milanés and Silvio Rodríguez both from Cuba. Throughout the decade, she released albums such as Hasta la Victoria in 1972 and Traigo un Pueblo en mi Voz in 1973. They featured songs like "Cuando tenga la tierra", written by Ariel Petrocelli and Daniel Toro, which tackles political and social issues like wealth and land inequality. During the 1970s she was a part of two films by the director Leopoldo Torre Nilsson: El Santo de la Espada in 1970 and Güemes, la tierra en armas in 1971, in which she portrayed Juana Azurduy de Padilla, the guerrilla military leader who fought for Argentine independence.

After the military junta of Jorge Videla came to power in 1976, the atmosphere in Argentina grew increasingly oppressive. Sosa faced death threats against both her and her family, but refused for many years to leave the country. At a concert in La Plata in 1979, Sosa was searched and arrested on stage, along with all those attending the concert. Their release came about through international intervention. Despite attempts to hold more concerts, she was officially barred from performing by the military regime. Banned in her own country, she moved to Paris and then to Madrid. She has spoken publicly about her artistic and emotional struggles during this period of her life. While in exile, she released the album A Quien Doy in 1981. The album included a recording of the song "Cuando Me Acuerdo de Mi Pais" which was originally written by the prolific Chilean singer/songwriter, Patricio Manns. The song, which he wrote while also in political exile, expresses the sorrow he felt from being separated from his homeland. She related to this feeling and struggled to continue recording and performing. In an interview with the New York Times, she said, “It was a mental problem, a problem of morale...It wasn’t my throat, or anything physical".

Sosa returned to Argentina from her exile in Europe in February 1982, several months before the military regime collapsed as a result of the Falklands War, and gave a series of concerts at the Teatro Ópera in Buenos Aires, where she invited many of her younger colleagues to share the stage. A double album of recordings, Mercedes Sosa en Argentina, from these performances became an instant best seller. She then traveled to perform in her home province of Tucuman. However, these performances were largely ignored by mainstream media in the country. In subsequent years, Sosa continued to tour both in Argentina and abroad, performing in such venues as the Lincoln Center in New York City and the Théâtre Mogador in Paris. In poor health for much of the 1990s, she performed a comeback show in Argentina in 1998. In 1994, she played in the Sistine Chapel in Vatican City. In 2002, she sold out both Carnegie Hall in New York and the Colosseum in Rome in the same year.