Toño Rosario

Toño Rosario, Máximo Antoniodel Rosario Almonte, “El Cuco” or “El Kukito Galáctico” as he is affectionatelyknown, is one of the structural pillars of Dominican popular culture.  A four decade career, including three decadesas a soloist with his own orchestra, has secured Toño’s place as one of themost relevant icons of Dominican merengue.

In 1978, Toño Rosario, together with his five brothers, forms Los Hermanos Rosario.  This merengue group would quickly gainacclaim and go on to be one of the most successful merengue ensembles of themodern era.  During his twelve yeartenure, the group not only  performed onthe nation’s most important stages, but also travelled extensively to PuertoRico, Panama, Europe as well as major cities throughout the United States.  This fruitful period included Toño’sparticipation in Los Hermanos Rosario albumsincluding: “¡Vienen Acabando!” (1980), “Los Hermanos Rosario” (1983),  “Los Hermanos Rosario Vol. 2” (1984), “LosHermanos Rosario Vol. 3” (1985), “Los Hermanos Rosario ¡Acabando! (1987), “LosHermanos Rosario ¡Otra vez!” (1988), “Fuera de Serie” (1990).

Despite the success of LosHermanos Rosario, the passing ofToño’s brother Pepe Rosario, the groups guiding light, prompted Toño to leavethe group and move to Puerto Rico.  Toñowould remain in Puerto Rico eight years, beginning his fruitful soloist career.  In Puerto Rico, Toño joined forced withacclaimed arranger, pianist, musical director and producer Israel Casado.  Aside from his work with Toño, MaestroCasado’s credits include Los Hermanos Rosario, Benny Sadel, Elvis Crespo,Grupo Manía, Manny Manuel,Vico C y Miriam Cruz, among others.

“Toño Rosario y Más” (1990)was his first album as a soloist delivering 10 consecutive weeks on Billboard’sTropical Album chart.  This early successwas followed by a series of albums and singles securing Toño’s spot as the topselling international merengue artist.

Toñoattributes his own success, as well as that of Los HermanosRosario, to the percussive style and interplay of the tambora, conga, and guirapioneered by Pepe Rosario.  This rhythmis know as “merengue maco.”  According toToño, this term was coined by Ramon Orlando in the 80s upon hearing the musicof Los Hermanos Rosario.  Maco hasbecome the dominant rhythm in merengue since the 90s.  According to Orlando, maco is defined by thetambora which sounds as if it’s “jumping,” differentiating if from thetraditional merengue “tumbao” (or merengue derecho) which sounds like it’s“walking.”

It is nearly impossible to find a Toñorecord that has failed to reach top positions in Billboard’s charts or theEuropean Hit Parade.  “Quiero Volver a Empezar” (1995) is the top sellingmerengue album of all time.  “La Magia deCuco” (1999) reached Gold and Platinum certification on February 7th,2001.  Incredibly, “Yo Soy Toño” (2000)was also certified Gold and Platinum on December 7th of the same year.

Toño’smusic has garnered widespread cross-cultural viral appeal. The song “Alegría”(1999) was played in Camerica Park each time the Venezuelan born DetroitTiger’s Omar Infante was at bat. Similarly, “Kulikitaka Ti” became an internet sensation in Kerala (Stateof south India) peppering local TV series, videos and events.  Spreading organically via WhatApp,“Kulikitaka Ti” became a viral throughout the African diaspora.  As merengue’s popularity seemed to be fading,“Dale, Vieja, Dale” (2017) bucked the trend. In 2018, Romeo Santos invited Toño to perform on his “Golden Tour.”  “Dale, Vienna, Dale” was the closing numberat Romeo’s sold out Madison Square Garden performance.

Aside fromhis multiple Gold and Platinum albums with over 100 million records soldworldwide, Toño is a 3 time Grammy nominee and is the first merengue artist tosell out Madison Square Garden.

When itcomes to his live shows, Toño Rosario is a self-described perfectionist.  He’s an artist that has managed to maintainhis career over the decades due to his capacity to innovate.  He understands the power of image - changinghis appearance, clothing, hair style, jewelry , etc. over the years to reflectthe current moment.  Finding ordiscovering something new for each show is vital.  “Ella No Está,” a bachata recorded in 2019,is but one example of his daily  searchfor something new.  Each new style orlook is an effort to connect not only with his audience, but with theuniverse.  He considers himself a“galactic artist.”  From his point ofview, the world needs to change and divisions need to be removed.  To that end, Toño views his music as a doseof happiness, allowing a temporary escape for whatever may ail you.  

Gaining newmanagement with Wilson Sanchez in 2012, Toño has continued reapingsuccess.  His current goals include areturn to live performance with shows in Mexico and Chile (Festival de Viña delMar).  He would also like to record withLápiz Consciente, Marc Anthony, Juan Luis Guerra and Los Hermanos Rosario (once again).      

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