Latin Grammy Awards to Camila, Guerra and Sanz

It was a good year for regretful rockers and cocktail crooners, and a breakthrough for a Mexican cocktail rope Camila, that specializes in honeyed energy ballads. Although Camila was adult opposite winners of mixed awards in past years, a endowment for a single, Record of a Year, and for songwriters, Song of a Year, went to Camila’s “Mientes” (“You Lie”). Camila also won Best Pop Album by a Duo or Group with Vocal with “Dejarte de Amar.” Accepting a songwriting award, Mario Domm of Camila removed that there were “many vacant pages, many phrases in a trash.”

The Dominican songwriter Juan Luis Guerra, with 9 prior Latin Grammys, won 3 awards: Best Tropical Song, Best Contemporary Tropical Album and Album of a Year for his “A Son de Guerra.” He remarkable that while a manuscript was romantic, it also had socially unwavering messages. In his acceptance speech, Mr. Guerra called for “more justice, some-more probity and some-more integrity” in Latin America.

Another performer who had dominated past Latin Grammys didn’t go home empty-handed. The husky-voiced Spanish rocker Alejandro Sanz, who had formerly won 14 awards, collected Best Male Pop Album.

The leader for Best New Artist was a Cuban-Canadian songwriter, thespian and writer Alex Cuba. He was a vital co-operator on “Mi Plan,” an manuscript of cocktail in Spanish by a Portuguese-Canadian thespian Nelly Furtado, that won a Best Female Pop Album award. Mr. Cuba did not perform with Ms. Furtado, who common her mark with a Spanish thespian and rapper Mala Rodríguez, leader of Best Urban Song.

Her “No Pidas Perdón” was one story of misery and presence that won an award; so were songs from Rubén Blades, who won Best Singer-Songwriter Album, and from Choc Quib Town, whose “De Donde Vengo Yo” was Best Alternative Song. The Best Alternative Album was a Mexican songwriter Ely Guerra’s “Hombre Invisible.”

The Latin Grammys, as usual, put on a eccentric philharmonic that creates a strange Grammy Awards demeanour stiff. Since a uncover has staid in Las Vegas, it has happily drawn on a city’s acrobatic revues and gyrating showgirls; this year, it also had a Vegas Marching Band to accompany Enrique Iglesias and a reggaetón twin Wisin y Yandel.

This year’s prolongation had Mr. Guerra singing in front of Recycled Percussion, who were pulsation on steel ladders, alongside a mini-Busby Berkeley series with dancers’ legs scissoring out of a swimming pool onstage. Later, as Mr. Domm of Camila crooned “Besame” (“Kiss Me”) in his high tenor, aerialists kissed while unresolved inverted in mid-air, solemnly spinning and drizzling with water.

The comparison of performances went to Mexican music, that generally dominates Latin song sales in a United States. Volatile, heart-on-sleeve ranchera singers were corroborated by mariachi groups (Jenni Rivera and Pedro Fernández) or strings (Alejandro Fernández). Grupo Pesado, leader for Best Norteño Album, played a accordion-driven polka, and there was brass-band song from Banda El Recodo De Cruz Lizárraga, leader for Best Banda Album. Even a leader for Best Tango Album, Aida Cuevas, was accompanied by a mariachi band. “Mexico is in Las Vegas tonight!” a Mexican cocktail thespian Aleks Syntek exulted before he performed.

The Caribbean-rooted styles that a song business now calls “tropical” were good represented by New Yorkers: Marc Anthony, who sang a fervent ballad “Y Como Es Él” with a songwriter, José Luis Perales, and Prince Royce, who incited Ben E. King’s “Stand By Me” into a Dominican-style bachata with Mr. King by his side. Salsa and merengue ruled a show’s finale, in a duet by a Puerto Rican salsa thespian Gilberto Santa Rosa and a Dominican thespian Johnny Ventura. Inexplicably, it was staged in a barbershop.

Two awards for rock, Best Rock Album and Best Rock Song, were won by Gustavo Cerati, a Argentine songwriter and producer. Mr. Cerati suffered a cadence in May, and stays in a coma. In Brazilian music, Gilberto Gil — Brazil’s Minister of Culture from 2003 to 2008 — won awards for dual albums: Best Native Brazilian Roots manuscript for “Fé Na Festa” and Best MPB (Música Popular Brasileira, or Brazilian Popular Music) Album for “Banda Dois.” Sergio Mendes won a Best Brazilian Contemporary Pop Album award.

The awards lonesome Latin song in 46 categories, from cocktail to tango, flamenco to Mexican coronet bands, Brazilian sertaneja to exemplary music. The Spanish effort Plácido Domingo was named a Person of a Year, receiving his endowment from Ricky Martin. While praising a artists, a beauty, a stream song and a enlightenment represented by a Latin Grammys, Mr. Domingo paused to add, “My god, what women!”