Antonio Lauro was born in Ciudad Bolívar, Venezuela. His father Antonio Lauro Ventura, an Italian immigrant, was a barber who could sing and play the guitar so he taught his son what he could, but died when Antonio was still a child. After the family moved to Caracas, Lauro pursued formal musical study (piano, composition) at the Academia de Música y Declamación, where the composer Vicente Emilio Sojo (1887–1974) was one of his teachers. A 1932 concert performed in Caracas by Agustín Barrios, the Paraguayan guitarist and composer, so much impressed the young Lauro (already an accomplished folk guitarist) that he was persuaded to abandon piano and violin in favor of the guitar. From 1933, Lauro studied with Raúl Borges (1888–1967), and was introduced to the classical guitar repertoire. In the next decade, Borges' pupils would also include Rodrigo Riera, José Rafael Cisneros, and Alirio Díaz. These colleagues, especially Díaz, were later responsible for unveiling Lauro's works to an international audience, introducing these unheard works to, among others, Andrés Segovia, Leo Brouwer and John Williams.

Like many South Americans of his generation, Lauro was a fervent cultural nationalist, determined to rescue and celebrate his nation's musical heritage. As a member of the Trio Cantores del Trópico in 1935–1943 (Lauro sang bass and played both guitar and cuatro), he toured nearby countries to introduce them to Venezuelan music. Lauro was particularly attracted to the myriad colonial parlour valses venezolanos (Venezuelan waltzes) created in the previous century by accomplished national composers such as Ramón Delgado Palacios (1867–1902). Unfailingly melodic and characterized by a distinctive syncopation (created by a hemiola in which two measures of 3/4 become a single measure of 3/2), such music was precisely the sort of folkloric raw material which Smetana, Bartók or Granados had elevated to the category of national art in Europe.

A concert whose programme consisted entirely of such valses venezolanos (Venezuelan waltzes) by the distinguished Venezuelan pianist Evencio Castellanos (1914–1984) convinced Lauro that the guitar, too, should have comparable pieces in its repertory. Among his first efforts in this genre were the pieces later known as Tatiana, Andreína, and Natalia, composed sometime between 1938 and 1940; their instant popularity inspired still others. In addition to his guitar pieces, Lauro composed dozens of works for orchestra, choir, piano and voice; many of which remain unpublished. He occasionally experimented with modern compositional techniques, but most of his guitar music remains essentially on the Calle Real or "main street," an expression used by musicians of Lauro's generation to refer to a straight and direct route, without distracting harmonic detours.

Antônio Lauro - El negrito

Comemorando os 40 anos da banda HIDRA, resolvemos brincar, então gravamos algumas das músicas do período de 1978 a 1983 e dessa reunião, surgiram algumas novas composições.
As músicas de 1978/1983 foram gravadas de acordo com as bases resgatadas de antigas fitas.
CASA VAZIA
Música: HIDRA & ALBERTO GUIRALDELLI Letra: ALBERTO GUIRALDELLI
Participação: 
DENISE VOSS - Vocais.
ALBERTO GUIRALDELLI: B.Vocal.
HIDRA
Reinaldo Guiraldelli: Violão, Guitarra e Teclados.
Ronaldo Guiraldelli: Guitarra.
J.Eduardo Merlini: Percussão.

HIDRA 40

CASA VAZIA

Ronaldo Guiraldelli - guitar - Demon's Eye by Deep Purple.mp3

Continuando a primeira parte da trilogia "ANTES, DURANTE e DEPOIS DA PESTE". 
Abrimos com "ANTES DA PESTE" (ESQUIZOFRÊNICO), dez composições de 2019, gravadas em 2019/20.

A MANADA
Música: HIDRA & ALBERTO GUIRALDELLI
Letra: ALBERTO GUIRALDELLI

HIDRA
Reinaldo Guiraldelli : Baixo 
Ronaldo Guiraldelli : Guitarras
José Eduardo Merlini : Bateria 


Participação
Alberto Guiraldelli : Vocal

A MANADA

Hidra

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