Singer and Spanish actor, born on April 3, 1956 in Panama City (Panama). Considered to be one of the great figures of the Spanish pop of the late 20th century and the beginning of the next century, has placed much of his works at the top of the lists of best selling records in Spain, Latin America, and several European countries.
Son of the great Madrid Bullfighter Luis Miguel Dominguín (1926-1996) and the famous Italian actress Lucia Bosé (1931-), grew up in an environment of great creative richness and high social rank, populated by the most important figures of art and culture universal from the second half of the 20th century, such as the painters Salvador Dalí (1904-1989) and Pablo Ruiz Picasso (1881-1973). Also, both in the different houses that lived throughout his childhood and adolescence, as in the many journeys made since childhood, had opportunity to know in depth other foreign personalities of the stature of the Italian filmmaker Luchino Visconti (1906-1976) - who sponsored him in to the baptismal font-, American writer Ernest Hemingway (1899-1961) and French filmmaker Jean Cocteau (1889-1963), painter, writer.
In this field took precedence where the artistic sensibility and creative spirit of Vanguard, the small Miguel decided to, initially, the professional steps of his mother, with the desire to become a prominent actor. However, their first attempts in the world of the celluloid were frustrated, because, for strange reasons, at the age of fourteen he had rejected the role of the young Tadzio who had offered him the aforementioned Visconti, within the Division of his famous film death in Venice (1970).
In 1972, while he was studying in high school at the French Lycée in Madrid, he had the opportunity to play his first film roles in some films of low-relief, shot by Italian Luccio Tessari; and, soon after, he went to London (1973) to settle there and expand your knowledge of theatre and dance, as a student of the prestigious school of dance and MIME of Lindsay Kemp (1938) -. The considerable fortune and the good relations of the parents allowed him to, also, study drama in Paris - now in the school of dance in Maurice Béjart (1927)-- Declamation at Rome, and dancing and singing in New York, where he even perfecting his art at the famed Actor's Studio training.
Back in Spain, he was more attracted by music and, in 1975, he debuted as a professional singer with a modest single entitled "I am", of which production and release was one of his first discoveries, the famous vocalist Camilo Sesto (1946) -. This discreet opera prima of the young Miguel Bose went virtually unnoticed for the public and the critics, and identical luck ran his second single, "It is not so easy," also promoted by the aforementioned alcoyano singer.
But in 1977, following an English version of the theme "Linda", I Pooh, Miguel Bosé Italians became overnight the morning the idol of teenagers of all Spain, which placed him immediately in cimeros positions of the charts. "Linda" - a song that also gave title to their first LP - launched Miguel Bose to stardom and he set the tone and the style of his first stage as vocalist, characterized by a sweet, friendly and commercial melodies that, driven by Sensual dance moves executed by the young performer, sought the primary attention of quinceañeras.
This role of new sex-symbol of the adolescents was fully ratified by their second LP, which, under the title of Miguel Bosé (1978), included a new commercial success, the song "Anna", with which the young singer surpassed the borders of the Spanish market to deal with the charts of several European countries. Soon after, Bose launched his third long play, entitled girls (1979), and returned to climb to lists of best-selling albums with an overwhelming success that from then on, would go inseparably attached to his name: the "Súper Superman" theme. The impact of this and other similar songs (such as the also successful "Don Diablo") led, in the record market in Spanish at the end of the 1970s and early 1980s, the emergence of several male performers who, following the guidelines of Bose, tried to take advantage of that vein of the "spunky" singer who wins among female youth sector by their sensual dances both their trade topicstheir physical attractiveness and their more or less provocative gestures (Ivan, Gonzalo, Pedro Marín, etc.).
At the beginning of the Decade of the eighties, Miguel Bose had become one of the most prominent phenomena on the European musical scene, with versions of his greatest hits in various languages, and galas and presentations of his records in many parts of the world. Their mass tours were sustained by their famous earlier songs and other new albums as well received by their fans as more beyond (1981), Bravo boys (1982) - whose main theme, identical title, Miguel Bose at the top of the lists of sales in Spain, Italy and other European countries-, Made in Spain (1983) and Milan Madrid (1983). All these discs were still keeping the freshness and the commercial lightness of the idol of young girls who, in his sex-symbol status, was marking a new style since the mid-1970s; However, already in the last two albums appeared to some issues of "transition" which, in a way, announcing the turnaround that was about to give the musical career of the artist born in Panama.
Mid-1980s already, in fact, Bose warned the natural depletion of reef that had been exploited as a teen idol and was raised a drastic change that included not only a style of music totally unlike that had cultivated until then, but also an image new, much more daring and sophisticated, coherent with the avant-garde training he had received from his childhood (already Made in Spain had resorted to the master of pop art Andy Warhol for the design of the) front cover). The album which reflected this new twist, entitled Bandit (1984), had with the collaboration of songwriters and instrumentalists of recognized prestige, and some deeply original themes that, after the initial of their teenage fans surprise, placed back to Bose at the top of the international charts (thus, v. gr., "Seville" and "Amante bandido").
With the support of those responsible for his new record label, Warner Music, Miguel Bose reinforced this experimental line with other two LP's of proven quality, salamander (1986) and XXX (1987). Then, in a somewhat more conventional - but always away from his first stage-line, launched another successful album, boys don't cry (1990), in which counted with the collaboration of some composers so accredited, in Spanish pop music of the 1980s, as Mikel Erentxun (1965 -), of Duncan Dhu, and Nacho García de la Vega (former Nacha Pop), as well as two components of the Union group.
By that time, his albums not reached the level of sales that their first successes, largely had been traced since the higher quality of their new songs turned them into parts of less popular flip. That is why Miguel Bose chose to supplement her income as a singer with the return to the big screen, where, in addition to reap great triumphs as a player - thus, for example, in high heels (1991), by Pedro Almodóvar (1949)--, managed, at the same time, to relaunch her musical career.
His undeniable creative maturity returned to be captured in low the sign of Cain (1994), disk where Bose decided to take advantage of income materials and artistic of its recent film successes to bet again on the demand, rigour and quality, produced by Ross Cullum and Sandy McLelland. In this album, recorded in Madrid and London--and, later, edited in English and Italian, Miguel Bose introduced its music undeniable Hispanic flair, thanks to the collaboration of large Flemish artists, such as members of the Group Ketama. These requirements of quality and constant desire for experimentation remained in his next work, labyrinth (1995), financed by the same producers and also recorded in English and Spanish soil.
A new cinematographic success awaited him at that time, with the premiere of La Reine Margot, based on a text by Alejandro Dumas (1802-1870) and shot in France in 1994. After the release and promotion of the LP cited in the previous paragraph (labyrinth, 1995), Bose felt desires of new professional challenges and, while preparing his landing in television, recorded some original and very personal versions of eleven major themes of Latin music, which went on sale under the suggestive title of eleven ways to put hat (1998).
The promotion of this album - produced by the same low responsible for the sign of Cain and labyrinth - coincided with the premiere of the first television program directed and presented by Miguel Bose, which was issued by Spanish Television under the title of the Seventh Cavalry. Initially, this raid of the artist in the cathodic screen was greeted welcome by the critics and the public, which gave new impetus to its increasingly more widespread popularity. The program, diffused by the first string, every Monday and in a privileged (around 11 pm) schedule, combined a surprising way, all types of artists and musical styles, in a sober and lucid format that alternated the artistic interventions of the protagonists with interviews to which they were subjected by their own Bose (accompaniedSometimes, for some notable figure of the musical or journalistic media).
However, after the good reception of this space by critics and audience, some careful observers of television began to point out that you Bose, its alleged combination of different styles - as consistent with the mixed trend that was in vogue for those times-, was limited to present and promote preferably to groups and solo artists belonging to the label you just created their own Bosé (No more disks), or linked to RLM, his associate producer's management. These criticisms led to the Seventh Cavalry, despite having been awarded in 1999 with the music award to the best television program, to begin to be relegated in the preferences of viewers. Bose, until the echoes of the program is definitely put, she quickly released an album that compiled the best performances of the artists that had shared the dish.
By that time, the artist born in Panama was about to be definitively retired scenarios, a result of a serious automobile accident that befell him in Extremadura. Fortunately, the accident resulted in a fissure of vertebrae which are soon restored.
Undertook, therefore, with minds renewed a new artistic and professional project in the year 2000, when, in collaboration with the famous singer Ana Torroja (1959-) - ex-vocalist of Mecano, the outstanding set of Spanish pop music of the 1980s and 1990s – made a long tour of concerts by scenarios of all Spain and many Latin America. The success of this long and acclaimed tour were captured in turned (1990), a double CD recorded live.
In the first bars of the 21st century, Bose returned to the music scene Spanish with Sereno (2001), a more commercial album than his previous stage, which left testimony of different personal experiences (some ignored or poorly known even by their intimate their most fanatical followers). Serene, recorded in Madrid and London and produced by the brothers Peter and Greg Walsh, was released simultaneously in Spain and Latin America in the fall of 2001, and before that had concluded this year had already been awarded with the prize special label Spanish industry, for his contribution to music, in the delivery of the friend awards gala. The following year, Miguel Bose won, for that, the 2002 Latin Grammy best album performed by a male soloist.
After this concession to commercial music, three years later Bosé recovered its bold line and innovative by vos muero (2004), a beautiful CD in which counted with the collaboration of other greats of pop contemporary Hispanic, as singer / songwriter Alejandro Sanz (1968) -. It's an ambitious project recorded in the block, in the own house Bose, produced by Chris Cameron and Nicolás Sorín; in it, Miguel Bose and musicians and guest composers dedicated their private tributes to the world of cinema, with special attention to the soundtracks. The themes of this album - presented live in a few cities, very severely selected, from Spain and Mexico, reveal training, both classic and avant-garde actor and singer received in his childhood and adolescence; and they are played by different orchestras who contributed with their good make that Bose leave airy of one of the most risky and deserving of his already long artistic career challenges.
Already reaching the half-century of existence, Miguel Bose returned to show of his inexhaustible creativity with Velvetina (2005), a brilliant musical work which boldly enters the field of electronics, the hand of musical styles so modern and complex as the dance, the trip-hop and chill out. With production of Antonio Cortés and the own Bose, Velvetina contains thirteen original songs whose lyrics combine words and phrases in different languages, all of which are reinforced with images of their thirteen respective video clips, recorded on the DVD that accompanies the music. Bose, opened once again to the avant-garde innovation, it entrusted the filming of these thirteen video-creations other so many young filmmakers who enjoyed total creative freedom when it comes to illustrate the themes of Velvetina, which gave rise to an interesting product of undeniable quality artistic, underlined by David Delfín cover design. The disc was presented with great success of critics and the public, in numerous countries of Latin America; and, subsequently, throughout the summer of 2005, in different places in Spain, within a sophisticated installation in which sound was paid both prominence and the light and the image.
I'm (1975) [single]. It is not so easy (1976) [single]. Linda (1977). Miguel Bosé (1978). Girls (1979). Miguel (1980). Madrid (1979-1980). More beyond (1981). Bravo, boys (1983) [compilation]. Made in Spain (1983). Bandido (1984). Salamander (1986). XXX (1987). Bandit Goblin (1988) [compilation]. Boys don't cry (1990). Live (1991). Bandit lover and other greatest hits (1993) [compilation]. Dear Miguel (1993) [compilation]. Pedro and the Wolf (1994). Under the sign of Cain (1994). Labyrinth (1995). Eleven ways to put hat (1998). The best of Bosé (1999) [compilation]. Spins (2000). In collaboration with Ana Torroja (1959)-. Serene (2001). Serene. The tour (2002). For you I die (2004). Velvetina (2005).
It has also collaborated with his performances in other collective array as:
The peasant mass (1979). Things for kids (1980). Forgotten children (2003).
In his role as cinematic actor, Bose has been involved in the following films:
Millionaires heroes, Luccio Tessari (Italy, 1972). Vera, a cruel tale, Josefina Molina (Spain, 1973). Il garofono rosso, Luigi Faccini (Italy, 1975). Giovannino, Paolo Nuzzi (Italy, 1975). Portrait of family, Antonio Gómez Rufo (Spain, 1976). SUSPIRIA by Dario Argento (Italy, 1976). Oedipus Orca, Eripranto Visconti (Italy, 1976). California, by Michele Lupo (Italy, 1976). Cage, Carlo Tuzzi (Italy, 1978). Sitting on the edge of the morning with feet dangling, of Antonio José Betancor (Spain, 1978). In fading light, José Luis Lozano (Spain, 1985). The Dragon Knight, Fernando colomo (Spain, 1985). The secret of the Sahara, Alberto Negrín (Italy / Spain / France, 1989). Shangay Lily, of Rafael Monleón (Spain, 1989). The miser of Tonino Cervi (Italy, 1989). The most natural, Josefina Molina (Spain, 1990). High heels, Pedro Almodóvar (Spain, 1991). The sacred night, Nicolas Klotz (France, 1992). Mazeppa, Bartabas (France, 1992). Queen Margot, Patrice Chéreau (France, 1993). Ignites my passion, Pepe Ganga (Spain, 1993). Mat cursed, Josiane Balasko (France, 1994). Libertarias Vicente Aranda (Spain, 1994). Oui, Alexandre Jardin (France, 1997). The gaze of the other, by Vicente Aranda (Spain, 1997).
And in his capacity as a stage actor, he has participated in several shows very different genre, such as mounting the martyrdom of San Sebastián, the catalan collective La Fura dels Baus (where worked as a narrator); the poetry reading dedicated to Rafael Alberti (1902-1999) and Pablo Neruda (1904-1973); or the work Pedro and the Wolf (1994), in which accompanied, as Narrator, with the Opera of Lyon.