{"id":9740,"date":"2026-09-19T23:43:36","date_gmt":"2026-09-19T21:43:36","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/nina-simone-es\/"},"modified":"2026-09-19T23:43:36","modified_gmt":"2026-09-19T21:43:36","slug":"nina-simone-es","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/chronicles\/nina-simone-es\/","title":{"rendered":"Nina Simone &#8211; Un piano que no se arrodilla"},"content":{"rendered":"<section class=\"wpb-content-wrapper\"><p>[vc_row][vc_column][vc_column_text]<\/p>\n<h3 class=\"subtitle\">La sala aprendi\u00f3 su clima<\/h3>\n<p>[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n<p style=\"text-align: justify;\">El piano de Annie&#8217;s Room, en el Soho, en junio de 1965, no acompa\u00f1a a Nina Simone: discute con ella. Ojos cerrados, mo\u00f1o alto, se apoya en una frase como si la pared estampada del club fuera un jurado. Eunice Kathleen Waymon, nacida en Tryon, Carolina del Norte, el 21 de febrero de 1933, ya se hab\u00eda cambiado el nombre en Atlantic City para que su madre metodista no supiera que la ni\u00f1a prodigio cantaba en bares. El pueblo hab\u00eda reunido el dinero de un futuro cl\u00e1sico. El Curtis Institute of Music la rechaz\u00f3. Le qued\u00f3 una mano izquierda que conoc\u00eda a Bach y una voz que se negaba a hacer c\u00f3moda cualquier sala.<\/p>\n<p style=\"text-align: justify;\">Su primer \u00e1lbum, <em>Little Girl Blue<\/em>, aparece en Bethlehem en 1958, grabado a toda prisa y vendido sin su consentimiento. <em>I Loves You, Porgy<\/em> se cuela igual en las listas, un aria de Gershwin frenada hasta parecer una carta privada. Las casas que siguen, Colpix, luego Philips, luego RCA, piden un producto m\u00e1s liso. Ella les da <em>My Baby Just Cares for Me<\/em>, <em>Don&#8217;t Let Me Be Misunderstood<\/em> y, en el \u00e1lbum de 1965 <em>I Put a Spell on You<\/em>, el amanecer extra\u00f1o de <em>Feeling Good<\/em>. Los metales no celebran. Anuncian. Debajo, la voz se queda baja, casi hablada, como si la libertad fuera un hecho que comprobaba y no un lema que vend\u00eda.<\/p>\n<p style=\"text-align: justify;\">La pol\u00edtica no llega despu\u00e9s, como un disfraz. Ya est\u00e1 en el tiempo. Tras el asesinato de Medgar Evers y el atentado de la iglesia de Birmingham, escribe <em>Mississippi Goddam<\/em> en un arranque de rabia y lo canta en <em>Nina Simone in Concert<\/em> en 1964, avisando a la sala de que el n\u00famero de revista que viene no es un n\u00famero de revista. El estribillo sonr\u00ede y luego muerde. <em>Four Women<\/em>, de <em>Wild Is the Wind<\/em> en 1966, apila cuatro vidas en una sola melod\u00eda y no deja elegir una favorita. <em>Sinnerman<\/em> convierte un espiritual en persecuci\u00f3n: piano, manos, un grito que corre hasta que la banda se queda sin aire. No eran notas al margen de una carrera de cabaret. Eran la carrera.<\/p>\n<p style=\"text-align: justify;\">Al final de la d\u00e9cada, el escenario estadounidense es un lugar al que entra armada. <em>To Be Young, Gifted and Black<\/em>, escrita con Weldon Irvine y publicada en 1970, quiere ser un regalo a Lorraine Hansberry y una correcci\u00f3n a cada canci\u00f3n que ped\u00eda a los oyentes negros que esperaran. Toca en el Carnegie Hall. Toca en la marcha de Selma a Montgomery. Toca tambi\u00e9n salas donde el contrato, el dinero o el promotor la insultan, y lo dice, a veces parando la m\u00fasica. La fama de dif\u00edcil es la fama de una m\u00fasica a quien un conservatorio, y luego un pa\u00eds, ya le hab\u00edan dicho que su exigencia no era la que reg\u00eda.<\/p>\n<p style=\"text-align: justify;\">Europa la recibe sin limar las aristas. A\u00f1os en Liberia, en Suiza, luego en el sur de Francia. La aparici\u00f3n en Montreux en 1976 sigue siendo uno de los documentos: una cantante capaz de callar un festival con una sola nota sostenida y despu\u00e9s re\u00edrse de ese silencio. Graba cuando decide. Cancela cuando no. El cat\u00e1logo de esos a\u00f1os es irregular a prop\u00f3sito, porque no constru\u00eda una marca. Manten\u00eda viva una pr\u00e1ctica, el tacto cl\u00e1sico contra el tiempo del gospel, la iron\u00eda de cabaret contra el serm\u00f3n.<\/p>\n<p style=\"text-align: justify;\">Los m\u00e1s j\u00f3venes la encuentran igual. Un sample, una m\u00fasica de pel\u00edcula, un pianista de noche que intenta <em>Feeling Good<\/em> y descubre que la canci\u00f3n no se deja embellecer. En 1987, el \u00e9xito brit\u00e1nico de <em>My Baby Just Cares for Me<\/em>, relanzado por un anuncio de perfume, devuelve un tema de 1958 a la lista y no la vuelve de pronto d\u00f3cil. Segu\u00eda tocando como si el piano le debiera disculpas. En 2003 el Curtis Institute, con medio siglo de retraso, le ofrece un diploma honorario. Muere unos d\u00edas despu\u00e9s, el 21 de abril, en Carry-le-Rouet.<\/p>\n<p style=\"text-align: justify;\">Lo que queda no es el mito del genio dif\u00edcil, manera perezosa de archivar a una mujer que no bajaba el volumen. Lo que queda es el sonido de una mano formada que se niega a arrodillarse, y una voz capaz de convertir un est\u00e1ndar en prueba. Se pone <em>Mississippi Goddam<\/em> o la larga carrera de <em>Sinnerman<\/em> y la sala sigue cambiando de temperatura. El clima era suyo. No se ha levantado.<\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"<p>El piano de Annie&#8217;s Room, en el Soho, en junio de 1965, no acompau00f1a a Nina Simone: discute con ella.<\/p>\n","protected":false},"author":1,"featured_media":9735,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[273,279],"tags":[259,877],"class_list":["post-9740","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chronicles","category-singers","tag-blues-jazz","tag-nina-simone"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Nina Simone - Un piano que no se arrodilla - RIFFS AND BEATS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riffsandbeats.com\/es\/chronicles\/nina-simone-es\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Nina Simone - Un piano que no se arrodilla - RIFFS AND BEATS\" \/>\n<meta property=\"og:description\" content=\"El piano de Annie&#039;s Room, en el Soho, en junio de 1965, no acompau00f1a a Nina Simone: discute con ella.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/riffsandbeats.com\/es\/chronicles\/nina-simone-es\/\" \/>\n<meta property=\"og:site_name\" content=\"RIFFS AND BEATS\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/profile.php?id=61576819018054\" \/>\n<meta property=\"article:published_time\" content=\"2026-09-19T21:43:36+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/riffsandbeats.com\/wp-content\/uploads\/2025\/06\/Couverture-Fb-2.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1640\" \/>\n\t<meta property=\"og:image:height\" content=\"924\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"pgorce\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@riffsandbeats99\" \/>\n<meta name=\"twitter:site\" content=\"@riffsandbeats99\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"pgorce\" \/>\n\t<meta name=\"twitter:label2\" content=\"Tiempo de lectura\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/es\\\/chronicles\\\/nina-simone-es\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/es\\\/chronicles\\\/nina-simone-es\\\/\"},\"author\":{\"name\":\"pgorce\",\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/es\\\/#\\\/schema\\\/person\\\/a6a40143836f6c8a45376e05d9879346\"},\"headline\":\"Nina Simone &#8211; 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