Concha Velasco is still on the stage at 81 years old in a tightrope balance between the passion for acting and the need to continue making cash to cover the debts with the Treasury that she has had to pay off in recent years and that have forced her to sell even her home. But this actress who, as she recalls, is only a few hours apart with Tina Turner and who, each in her own way, have shown the same energy and mastery of the stage, has taken a step in another direction and is news not for his work but for the revelations about his private life that he made this weekend on Telecinco.
There, sitting in front of Jorge Javier Vázquez , he said that he was going to tell something that he had never revealed and with the same self-confidence he said he did otherwise they would not have taken her to the program, presumably charging an amount in return. The news that Velasco provided exclusively had been kept for the privacy of his family for 44 years, the same as Manuel, his first-born, and it was none other than the identity of the father of his son, whom he had as a single mother: the cinematographer Fernando Arribas, who passed away on January 24 at the age of 80.
Actually, one could speak of an open secret because the relationship between the cinematographer of films such as Divinas Palabras , Las long vacations del 36, Las Green meadows or The ages of Lulu was well known, although the decision not to reveal that he was the father of Concha Velasco's first child was respected by colleagues and the press. The actress made this confession on Saturday Deluxe in the most natural way, the same one with which she told that her son had known for years, that they had spent Christmas with her family for the last four years, and that she was about to aborting because at the time she got pregnant being a single mother was frowned upon and he was married. “I have felt very sorry for his death because he was a very loving man and he admired me a lot. I was very much in love with him, "said Concha Velasco in the program.
Film director José Luis García Sánchez told EFE about him on the occasion of his death:" He was a great person, a great guy, I think no one would speak ill of him. him and look how difficult that is in this world ”. He added: “He had a special ability to marry and divorce, I was best man at a couple of their weddings. His love affair with Concha Velasco was famous, she wanted a husband, but Fernando didn't want to marry her and she didn't want to wait for him to resolve their marriage. ”
Which is almost an anecdote for someone who is one of the most beloved actresses in cinema. Spanish has raised rivers of gunpowder. For her it is one of the loves of her life, of whom she speak fondly and denying that she did it to pay old debts with the Treasury, which she said were resolved. Concha, Conchita Velasco as she was known until 1977, began to study classical ballet, Spanish dance and music theory at the age of 11, she has 137 awards, 16 albums, dozens of films, television series, and highly successful plays to her credit. and also having been the presenter of the TVE program, Cine de Barrio , for almost a decade , until September 2020.
has always said that “if I were rich I would not work so much” and that it has been the debts that have forced her to be more active than you would like, but there is also a background of passion for your craft. The first time she was in front of a camera was in 1956 in The Taming of the Shrew , with Carmen Sevilla as the protagonist and she had only one sentence: "Oh, ma'am, we didn't hear you coming." It was precisely Carmen Sevilla who she replaced as presenter at Cine de Barrio 55 years later.
Velasco was going to be a dancer, she was vice-triple of the Argentine star Celia Gámez, and she got her first leading role in the film Las chicas de la Cruz Roja. It was adding titles to her curriculum and in the sixties a song interpreted by her, La chica ye-ye , became a success and anthem of a generation of women who opted for the miniskirt and for not beginning to try to get away from the image of women- vase, girlfriend or mistress of, to which the cinema and society of the time were accustomed.
If professionally things have been shot for the actress and over the years she has consolidated the quality of her work, which at the end of her life has had memorable roles in the theater, the same has not happened in her love life or in her career as a businesswoman. She fell in love with the film director José Luis Sáenz de Heredia and said it in the magazine Semana in 1971: "I live in love with a man who cannot marry me." He was married. Then the actor Juan Diego arrived and in the mid-seventies Fernando Arribas, the father of his son Manuel. And she lived being a single mother with the naturalness that being famous and well paid gave her.
She herself has said that she was platonically in love with the singer Manolo Escobar for many years and in the same work environment she met her only husband, actor Paco Marsó , father of her second son, Francisco. She was married to him for 28 years since April 18, 1977, but their passionate and changing relationship was anything but a bed of roses. In 2005 came a separation announced and burdened by financial debts derived from failures in the business management of some of the theatrical productions that they undertook together and from the debts contracted with the Treasury.
Throughout his long career as an artist, Velasco has ruined on several occasions and in all of them Paco Marsó has been present. Since they were married, he dedicated himself exclusively to stage production, mainly in those projects in which Concha Velasco was the protagonist. "We got into very expensive productions, like Hello Dolly (2001), which we did not recover or fill," the actress confessed to EL PAÍS in 2012 . However, she was one of the highest paid actresses and many media have come to affirm that if it were not for her ex-husband, who died on November 5, 2010, she would be a millionaire. Fortune disappeared but Concha Velasco maintains the title of lady of the theater, the quality of her performances and the modernity of having lived the life she wanted when women did not have so easy to do it.