One of the biggest names in Latin music in Brazil, Carlinhos Antunes became intimately close to Violeta's work in the 80s, during his time with the iconic Grupo Tarancón. Violeta Parra and her compositions became known in Brazil between the 70s and 80s through the Group and through the voices of Mercedes Sosa, Milton Nascimento and Elis Regina. This success brought countries closer together and generated cultural exchange that was soon interrupted by the years of lead. “The military dictatorship, with its repression and censorship, caused this movement to gradually diminish. We were prohibited from listening to records by more politicized artists from other countries and vice versa, as well as books, newspapers, etc. If we were carrying LPs, tapes and books at airports, coming from Latin countries, considered engaged, they would be seized by the federal customs police”, says Carlinhos. For this album, which features contemporary arrangements for classic Parra songs, he brought together a unique lineup from his Orquestra Mundana project. Carlinhos takes on the cuatro, guitar, viola caipira, charango, ronroco; Danilo Penteado signs the pianos and accordions; Maria Beraldo Bastos takes on the clarinet; Beto Angerosa, percussion and Rui Barossi, acoustic bass. Completing the project is the voice of Sarah Abreu, responsible alongside Carlinhos for the idealization and consolidation of the project. Together they create a tender and lyrical portrait, as the album's title anticipates, which contrasts, to a certain extent, with the more tense and untimely tone of Violeta's personality. “Violeta, Terna y Eterna” shows the various artists behind the legend, alternating songs composed by her throughout her life, Latin music classics and compositions by members of the sextet, as well as some of her poetry and texts. All with the purpose of keeping the message of the songs alive on the artist's centenary.