Violeta was feeling more estimated abroad that in your own country. Among 1961 and 1965 she resided in France, continuing with your intense artistic activity and constant recitals, always trying to spread the Chilean folklore. Your residence in Paris served her to launch to the world of the disc your children Ángel and Isabel, with the motto of The Parra of Chile, and to continue with hisyour recordings "the notable disc Recordando a Chile" (Una Chilena in Paris) she includes two songs compound and sung in Frenchman, besides other very important topics of your career, since "Paloma Ausente" y "Arriba Quemando el Sol" ; she recorded, in addition, a series of songs for the stamp Arión, in 1962, which they would arise in diverse summaries with posteriority). It is a stage of great nostalgia, as it is testified by songs as felt(as been sorry) as "Violeta Ausente".
In 1964, the Chilean one she achieved a historical brand on having turned into the first Latin-American one in exhibiting individually in the famous museum of the Louvre. She wrote also a book (Poesía Popular de Los Andes) and the television of Switzerland filmed a documentary on your work (Violeta Parra, Bordadora chilena), that was constituted in one of the scanty audio-visual sources that today remain of the artist.
In this period she forged a firm relation together with the musicologist and Swiss anthropologist Gilbert Favré, the great love of your life, and addressee of your more important compositions of love and dislike ("Corazón Maldito", "El Gavilán, Gavilán", "Qué He Sacado con Quererte", among different many).
Your more combative texts arose in this epoch: songs since "Miren Cómo Sonríen", "Qué Dirá el Santo Padre", "Arauco Tiene una Pena", "Según el Favor del Viento" they would form the base of the musical current known as the New Chilean Song. The songs would be gathered in the numerous editions of Songs Met again in Paris.
In 1964, the Chilean one she achieved a historical brand on having turned into the first Latin-American one in exhibiting individually in the famous museum of the Louvre. She wrote also a book (Poesía Popular de Los Andes) and the television of Switzerland filmed a documentary on your work (Violeta Parra, Bordadora chilena), that was constituted in one of the scanty audio-visual sources that today remain of the artist.
In this period she forged a firm relation together with the musicologist and Swiss anthropologist Gilbert Favré, the great love of your life, and addressee of your more important compositions of love and dislike ("Corazón Maldito", "El Gavilán, Gavilán", "Qué He Sacado con Quererte", among different many).
Your more combative texts arose in this epoch: songs since "Miren Cómo Sonríen", "Qué Dirá el Santo Padre", "Arauco Tiene una Pena", "Según el Favor del Viento" they would form the base of the musical current known as the New Chilean Song. The songs would be gathered in the numerous editions of Songs Met again in Paris.
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