By José VadilloAmanda Portales wears the metaphorical veil of an eternal bride, singing at the altar of Peruvian music. Her betrothed—represented by Peruvian society as a whole—loves to dance the "zapateo" (foot-stomping dance) while humming the sorrows and joys of love through huainos, huaylarshs, mulizas, tunantadas, chuscadas, carnavales, and morenadas", among others—for heterogeneity is a hallmark of the Andean-Peruvian tradition.
These musical currents converge in the repertoire of “Peru’s Bride” (La Novia del Perú)—a title bestowed upon her by journalist Antonio Muñoz Monge, a music enthusiast and chronicler of cultural fusion.
Amanda truly commands the stage whenever she steps up and takes the microphone, surrounded by the sounds of violins, saxophones, and guitars. Let the music play, maestro!
Changes in communication
The artist is wrapping up the celebrations for her six decades in music. She has witnessed the evolution in how Andean music performances are promoted and covered by the press—a shift that reflects how Lima gradually opened itself up to the tastes of its new residents.
“In my own experience, ever since I was very young, I’ve seen how events were promoted. Back then, it was through posters and flyers—and, above all, word-of-mouth and loudspeakers mounted on vehicles. As time went on—thank God—I gained many memories involving newspapers, which have always treated me wonderfully and believed in me. I’ve often found myself in the headlines of various media outlets,” she recounts to the Andina news agency.
In this artistic journey, she recalls newspapers that have since ceased publication and radio stations that now exist only in the realm of memory—stations that used to broadcast folk music in the early hours of the morning. The artist would turn to all these outlets to share her work.
Amanda and Social Media
But how does the performer who popularized “Pío-pío” engage with social media?
“It’s a daily learning process,” she notes. For the artist from Lima, this digital education began with the COVID-19 pandemic. In that context, she had to learn to transform her living room into a stage, from which she could send personalized greetings and host virtual performances.
Since then, she has established a presence on Instagram. Today, she has an official YouTube channel, and more recently, she has begun exploring TikTok. “Can you imagine me making TikToks?” she laughs—yet she knows it is vital for connecting with new audiences. She receives and responds to messages from her followers.
“My goodness, I’m keeping up with the times. It can be a bit challenging, but I can do it,” she emphasizes.
Guests for “Arte Puro II”
In the show “Arte Puro II,” which will take place on Thursday, November 12, and Friday, November 13, at the Gran Teatro Nacional, she will share the stage with singer Karla Sofía (from Ayacucho), Javier and “Jasa” Sauñe, young singer-songwriter Facundo Sanz Barcelli, and “The Poet of the Harp,” Jhonny Campos.
What other positive aspects do social media offer? For “La Novia del Perú” (Peru’s Sweetheart), they have allowed songs by artists who are no longer with us to be heard once again, bridging the gap to new generations.
“For them, it’s as if these were brand-new, previously unreleased tracks,” she points out.
The one thing this celebrated artist regrets is that many young performers do not conduct more research into the songs they add to their repertoires.
“That is why I commend this new generation for bringing our "huaino" into the spotlight. Artists like Karla Sofía and Facundo Sanz are doing just that. I applaud them because they truly understand their material—they know whether a song is a "chuscada, a carnaval, a mulisa, or a santiago", and they even know exactly when a particular artist first recorded it,” she notes.
Although she popularized many songs—such as her versions of “El Perú nació serrano,” “Dile,” and “Vaso de cristal”—she always clarifies to younger performers: “Yes, it may be a hit for Amanda Portales, but the author—the composer—is someone else.”
A pioneer for animal welfare
The singer also recorded songs in the huaylarsh rhythm from the Mantaro Valley, such as the well-known “Pío-pío” and “Mi gallito moro,” both of which champion the cause of poultry. She brought that same gentle, sweet quality to her rendition of “Gatito, miau, miau.”
In this sense, Amanda Portales was an artist who anticipated the animal welfare movement in Peru. At the time, however, such boldness drew significant criticism; some even claimed she was distorting the huaylarsh tradition.
“When you perform a song, you can’t just think about older generations—you have to consider the youth and the children as well,” Amanda Portales emphasizes.
Today, things are different: women often approach her accompanied by their daughters, specifically because of this part of her extensive repertoire—songs with simple lyrics that resonate with children and their natural love for animals.
This type of melody resonated easily, even in Shanghai, where she traveled this year with a group of artists. On the streets of that Chinese city, people recognized her immediately by the onomatopoeic sound of the most beloved feline in any household: the cat. And so, Amanda went viral in that ancient land, on the other side of the globe.
Beyond pigeonholing
During her two-night engagement at the Gran Teatro Nacional (GTN), the "Sweetheart of Peru" (La Novia del Perú) will also debut songs such as "Que viva el amor," which the late songwriter and composer Juan Arana crafted specifically for her voice.
Her extensive discography also contains "hidden gems"—songs few people are aware of—including one she recorded accompanied by a harp for the legendary Iempsa label.
It is a repertoire that did not receive much exposure at the time. Now, joined by harpist Johnny Campos, she will offer something new for her GTN recitals: the chance to hear songs she recorded over three decades ago, in a musical format not typically associated with her voice.
"Sometimes, I get pigeonholed. People say, 'Amanda Portales just keeps doing the same thing,' but the public doesn't realize that I have an endless number of recordings—tracks, for instance, that I’ve recorded with a *requinto* (a small guitar) or a harp; I’ve also recorded *música criolla* and Latin American music," she explains.
In these twin concerts, she will also pay tribute to Estudiantina Perú, the historic ensemble from the Mantaro Valley once led by violinist and composer Panchito Leytth Navarro (1942–2004).
The group’s lead vocalist was Orlando Sauñe. His son, Javier Sauñe, and his grandson, "Jasa," have preserved the distinctive vocal style of Estudiantina Perú and will revisit that repertoire alongside Amanda. This is the musical heritage she brings with her—a chance to renew her vows with the audience at the "altar" of the GTN.
Facts:
- Amanda Portales is recognized as the initiator of the Day of Andean Song (Día de la Canción Andina). She has been honored by the Peruvian State with the Order of Merit for Distinguished Services, in the rank of Commander.
- She received the “2004 Artistic Excellence in Andean Folklore” award from the National Major University of San Marcos, and the Ministry of Culture has designated her a "Meritorious Personality of Culture."
- The concerts, titled “Amanda Portales – Pure Art II” (Arte Puro II), will take place on Thursday, November 12, and Friday, November 13, at 8:00 p.m. at the Grand National Theater (Gran Teatro Nacional). Tickets are available via Teleticket.
- She will share the stage with Jhonny Campos (“The Poet of the Harp”), Javier and “Jasa” Sauñe, Karla Sofía, and Facundo Sanz Barcelli. Musical accompaniment will be provided by the *Selección Fiesta Andina* ensemble and the Amigos del Mantaro orchestra.
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Publicado: 3/11/2026