Cuban singer and composer Manolo del Valle—whose real name was Manuel Batista Salgado—passed away this Sunday at the age of 84. The news was announced by the Cuban Music Institute (ICM) and the Orquesta Original de Manzanillo, a group with which the artist maintained a long professional relationship. The news prompted expressions of sorrow within the music community and among fans of the Cuban bolero, both in Cuba and abroad.
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Del Valle was one of the island’s most recognized voices in romantic song. His career, spanning more than six decades, was closely tied to the bolero genre; he delivered performances that resonated with several generations of listeners, including songs such as “Es mejor vivir así” and “Celos del viento y el mar.”
His early artistic steps were linked to local groups such as the trios Ideal and Los Bohemios. In 1964, he joined the Orquesta Original de Manzanillo, an ensemble with which he remained associated for 14 years and with which he recorded songs he had composed himself.
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The group highlighted the singer’s contribution to a sound that blended son and popular dance music with romantic song. Following that period, Del Valle settled in Havana to pursue a solo career.
Manolo del Valle’s repertoire included bolero classics as well as compositions that became synonymous with his name, such as “No renunciaré a tu amor,” “Celos del viento y el mar,” “Ni tu cama ni tu almohada,” “Será la última carta,” “Solo mía y basta,” and “Este es mi último adiós.”
His discography includes productions such as Es mejor vivir así (1981), alongside numerous performances at bolero festivals held in Cuba and other countries. Throughout his career, he received various cultural honors and maintained a close bond with audiences both on and off the island.
News of his passing prompted reactions from musicians, colleagues, and admirers. Singer Lourdes Libertad expressed her sorrow on social media and recalled years of friendship and professional collaboration with Del Valle, whom she described as one of the great exponents of the bolero.
With his passing, Cuban music loses a performer whose legacy endures through his recordings and the bolero repertoire. His songs remain part of the musical memory of several generations, both in Cuba and among Cuban communities abroad.
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