Laura Pausini is keeping pace with the buzz around a new movie project, and yet a controversy from the past keeps resurfacing. An opinionated voice has emerged from Leticia Sabater, claiming a shared fate between her own hit and Pausini’s early breakthrough. Sabater, known for her song La salchipapa, spoke to a popular entertainment program and asserted that she was the one who actually conceived the Italian hit La Soledad, presenting it as her own initial success.
In Sabater’s retelling, the Spanish version of the same theme arrived at roughly the same moment as Pausini’s Italian release, with both languages being pursued in parallel at the same year. She argues that the Spanish rendition Como el primer amor carries the identical melody and lyric core as Laura Pausini’s original, suggesting that the creative credit belonged to more than one performer from the outset.
A presenter on Telecinco echoed Sabater’s sentiment, recounting that a song presented to both artists was released in tandem, with Italians and Spaniards receiving their versions almost simultaneously. This narrative implies that the Spanish version should have brought Sabater recognition that, in this account, never fully materialized in public memory. The presenter notes a touch of sadness over the forgotten correspondence between the Spanish version and the Italian masterpiece, hinting at deeper conversations behind the scenes that did not reach the wider audience.
The program did attempt to put Laura Pausini in the hot seat to address the dispute. Pausini reportedly took the questions with a light heart, expressing openness to meet the person who performed the Spanish interpretation of the song. She also touched on a personal memory linked to the track, framing it as a personal story about a time when a boyfriend betrayed her and the loneliness that followed during younger years. This confession adds emotional texture to the discussion, anchoring the music in lived experience rather than abstract ownership alone.
Leticia Sabater, however, offered her own version of the events, insisting that the love story that inspired the song belongs to more than one person. She framed the narrative as involving three individuals: Marco, Laura, and Sabater herself, underscoring a collaborative rather than a solitary creation story. The exchange left the audience with a sense of unresolved tension and competing memories about how a global hit can emerge from a shared moment rather than a single genius’s insight.