Melodía Para Dios

Farid Ortiz Farid Ortiz

The Lament of Forced Choices: Farid Ortiz's 'Melodía Para Dios'

Farid Ortiz's 'Melodía Para Dios' is a poignant narrative that delves into the themes of regret, societal pressure, and the longing for a lost love. The song tells the story of a man who is reflecting on his past decisions and the consequences that have led him to a life of sorrow and yearning. The lyrics express the protagonist's deep sense of nostalgia and his desire to return to a place and a love that he left behind. The title itself, which translates to 'Melody for God,' suggests a prayerful and introspective tone, as if the singer is seeking divine understanding or forgiveness for his plight.

The song's protagonist recounts how he was forced into a marriage based on a lie—a woman claimed he was the father of her unborn child, which led to his honor being questioned. Despite his innocence, he was compelled by societal norms to 'respond' and take responsibility. This situation has trapped him in a 'prison of forgetfulness and pain,' separating him from his true love. The repeated lines 'Un matrimonio ya no vale na'' ('A marriage is now worth nothing') and 'Ay perdóname nunca te olvidé' ('Oh forgive me, I never forgot you') emphasize the emotional conflict between societal duty and personal desire.

The song's narrative structure and the emotional delivery by Farid Ortiz, a vallenato singer known for his expressive performances, create a vivid picture of the protagonist's turmoil. The use of natural imagery, such as the changing seasons and the cries of birds, serves as a metaphor for the passage of time and the enduring nature of his feelings. 'Melodía Para Dios' is a lamentation over the loss of authenticity in one's life choices, and a critique of the societal expectations that can dictate personal happiness.

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  1. Yo Tenía Una Luz
  2. Mi Cafetal
  3. Pregúntele a Su Hija
  4. Prisionero de Amor
  5. Acéptame
  6. Quién Fue
  7. Altos Del Rosario
  8. Razones de Amor
  9. Amor Prohibido
  10. S.O.S.
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