The new generation
POINT AND COUNTERPOINT
By Lisandro Gambarotta
Federico Mizrahi and Luis Longhi are two young men that approach tango with a style all of their own that includes new compositions, a fine sense of humor and a great knowledge of the bases of our city’s music
A butcher in the Italian city of Turin finishes his daily tasks. Carefully cleans all meat remnants off his hands and changes his bloodstained apron for clean clothes. He smoothes his hair for the umpteenth time and goes out into the street. It is night. He walks a few meters and enters a small parlor where the patrons receive him happily, barely greets them with a nod and slips away towards the back. There is a stereo system on a table. He lights a cigarette and smiles. Today, for the first time in “Millonga alla Luna“, new Argentine tango will be heard. The duo Federico Mizrahi - Luis Longhi will resonate through the loudspeakers with “Demoliendo Tangos”. The audience is moved and soon all Italy knows about them.
- It sounds incredible but it is thanks to the clandestine sale that the butcher did of our cd that we are known in Europe - recounts Federico Mizrahi.
Paris was the birthplace of the duo. They met in 1996 in Buenos Aires when they were called individually for the play “Tres Mañanas” written by Mario Cura, directed by Manuel Iedvabni and premiered in the Theater IFT. Mizrahi was already a recognized musical director and he composed and played the piano live and Longhi, a soap operas actor and bandoneon player was the narrator and also played live. Two years later the success of the play takes it to France where it is presented, in French, with the name “Tango Chejoviano”. During the European winter of December of '98 and January of '99 in their free time the duo begins to experiment with other tangos and soon, a few meters away from the Seine, a café concert type of play, Demoliendo Tangos, is born, where other authors and their own tangos are mixed with humorous situations. Their first official concert was in the Casa Argentina of the University of Paris Campus.
For them tango arrived like destiny, they were not seeking it, but it was waiting for them
To me tango is almost like an illness, as a small child I listened to “Solo Tango” and my friends made fun of me, they wanted to send me to the TV program “Odol Pregunta” to answer questions on tango. The bandoneon came to me “from above” Never in my expectations about life did I consider playing bandoneon and being a musician. I am from La Plata and studied theater in the School of Theater of that city and later I went to Paris to further my studies at the Comedia Francesa. When I returned I had some money saved and wanted to buy an accordion but I knew someone that was selling a bandoneon and finally I bought it. I studied some months in my city and later I came to Buenos Aires to study with Rodolfo Mederos, but not even then was my idea to be a bandoneon player, I studied bandoneon as an actor that studies singing, dancing and other elements that give him a better foundation - narrates Longhi.
With Mizrahi destiny took human form
- I saw Astor Piazzolla live when I was thirteen or fourteen years old and it changed my life. His melodies and harmonies made my head swim, to me it was incredible that you could fuse music and tango in that way and almost without meaning to, as a teenager, I began to work on my first compositions, that were influenced by him a little or maybe a lot. Years later Alejandro Dolina called me to be his musical composer and he introduced me to the tangos of the decade previous to the '40, which gave me a chance to form a large repertoire. The encounter with Luis allowed me to compose tangos with a bandoneon by my side and to write whatever I wanted. Then we added cellos and violins, from where a counterpoint and more melodic style arose, counterpoint is precisely a basic resource in Piazzolla. The voices and melodies interweave each other while the bandoneon brings that resource close to a tango style -
Counterpoint is not only a style but also an explanation of the musical collage of the duo. Their main influences are Argentine rock musician Charly Garcia and Piazzolla. Charly is above all a generation matter: Mizrahi and Longhi were both born in the decade of the '60 and they grew listening to “Seru Giran” the mythical band headed by Garcia. “Charly is a tanguero, back then his melodies had a lot of tango, above all by because of the way he sang to Buenos Aires” they say. “Demoliendo Tangos”, the duo’s first play and then its first cd, is not a chance name. One of the most famous themes of Garcia is called “Demoliendo hoteles”.
They consider Piazzolla the great demolisher of tango.
- He was like Mozart; he opened his own road, unique and inimitable. He broke the existing structures and built a new path keeping the bricks of which the base of tango is made. He was a great melodist, he created harmonious and beautiful melodies that are clearly differentiated from one another, they are very easy to sing in spite of the fact that they do not have lyrics - asserts Longhi.
In the first song of “Demoliendo …” the counterpoint is established. At the start we listen to sports journalist Victor Hugo Morales narrate a goal of Maradona’s and then to writer Ernesto Sábato. The musical collage continues: “Monóculo fantástico” of Garcia, “El Once” of Osvaldo Fresedo, “Alguien le dice al tango” of Piazzolla, then Garcia again, “El Marne” of Eduardo Arolas and others. In its second cd “Carne Argenta”, through a chaos of sounds, the duo develops a meticulous story of how the famous Argentine asado (BBQ) is made.
Their talent allowed them to travel not only through Italy but also through France, Swiss and Germany. Their shows had a great repercussion not only for their innovative style in tango but also because of their unique sense of humor. They traveled through many European milongas but, paradoxically, in Buenos Aires only some accepted them, they were better received in theaters.
- For a long time tango was surrounded by a group of people that did not allow it to cross specific boundaries, the parameters were very strict. Today there are new generations that began to challenge the status quo and the old tangueros have been withdrawing. That is why there are so many new musicians nowadays - says Mizrahi
- Today’s tangueros, we are freeing ourselves from old restraints. We have a clear knowledge of the genre, we know the bricks with which we are building the structure but then there is a liberation toward your own personality and expression - adds Longhi
With the new generations an unexpected style arrived: electronic tango
- I believe that this is an experimental movement, nothing has been defined yet, but there are many who are using it as a way to enter tango, it is true that it appeals more to different generations, something that traditional tango does not do. It is important to note that commercial electronic music is based on two or three chords, not an interesting environment, and it is not enough to transfer it to tango and use the bandoneon, one must know how to devise something more interesting. Nowadays the range is very wide – says Mizrahi
- It is interesting that tango had been blocked for such a long time, orthodox tangueros had cornered it. Perhaps because of the emergence of rock and roll, tango fell in a creative void for thirty years – excepting Piazzolla - and nothing could be done that was not within the established archetypes and norms. Almost eight years ago an experimental process exploded. We do not know where it is going to end, but blessed be this process that will carry us to unsuspected places. Therefore I believe that all these experiences are welcome, although some may be better and others worse. It is a process of change that tango needed, it was shouting, begging for it - concludes Longhi
THE INDIVIDUAL STORIES
Before being a duo, each one had an extensive artistic experience that gave base to the present one. Luis Longhi is an actor – before a bandoneon player, he says – and he participated in well-known soap operas: “Más allá del horizonte”; “Pan Caliente”; “Cosecharás tu siembra”; “Buenos vecinos” and “Hospital Público” among others. Also he was an actor with Tato Bores and Jorge Guinzburg and he was part of the team of the successful film “Luna de Avellaneda”. His experience with Rodolfo Mederos allowed him to take part in the year 92 of the musical group “Tangata Rea” with which he traveled through the United States and various countries in Europe. Also he is a playwright, he wrote plays such as “La conferencia del Tango”; “La batata y el plumero” and “Simulando Lunas” At present he is under contract with theater San Martin to participate in “King Lear” with Alfredo Alcón. Federico Mizrahi is the musical director of countless plays and at present he prepares a cd of new versions of well-known tangos played in electronic style and sung by people such as “Chino” Laborde, Guillermito Fernández, “Tana” Rinaldi and Alfredo Piro among others.
Tango and theater
TANGO IN THREE ACTS
by Lisandro Gambarotta
In its origins tango gripped the floor, there were few acrobatics and a lot of passion. Hoy Bailongo Hoy (Today Dance Today) is a play, soon to be premiered, that expresses an original identity.
IIn a neighborhood club a group of men and women are divided into two sectors. The women occupy a row of chairs and in the opposite side the men lean on the bar. When the first bars of a tango are heard the climate is rarefied, the women look at the other group and with a nod one of the men invites the most beautiful woman to dance and she accepts with a simple gesture. They meet in the middle of the dance floor and they slide their feet with agility to the beat of a tango by Pugliese. There are no embellishments, voleos or pirouettes. The dancers are not interest in being the center of attention, they dance because and for the pleasure. Hoy Bailongo Hoy a hand painted placard reads at the door of the club.
Dances, music and theater are a collective creation of Ethel Agostino, Susana Nova and Doris Petroni, who conceived this project over fifteen years ago. It was premiered in the winter of 1989 in the Auditorium of the Bauen Hotel, under the musical direction of Oscar Cardozo Ocampo, who also played on stage.
- The place is a dance party of the 40s, a journey through the facts, customs and relations that formed part of the era's tango life. There is not text, not a single word is said, they are actors that dance and not dancers that act, the story is based on the acting. The main act is the dance, but before it the city context of the moment is shown and it can be seen how men and women got ready for the milonga- tells Agostino
A natural setting was the radio, the most massive media of the moment, where the public went to see live presentations of singers and orchestras. Here we see an audience at a radio station of that time, as it was Radio Belgrano. A pool hall is also recreated, the exclusive domain of men. During the dance in addition to tangos, boleros foxtrot and waltzes are played. These moments were used by the women to touch up their makeup and by the men to smoke and to have something to drink.
A golden era of tango such as was the decade of the 40s gave foundation to a philosophy of life that expressed itself through movement.
- The vocabulary of the dance is interesting because is not quite current. It is not a strict choreographic reconstruction of the 40s, there is a new proposal that does not lose the simplicity of the original one - states Maximiliano Ávila, assistant of choreography with great national and international recognition.
Hoy Bailongo Hoy (Today Dance Today) is a theater dance company where the fusion of various styles builds an original artistic identity.
Veronica Alvarenga is a professional tango dancer, and as such has traveled through various countries and knows that tango for export tends to be an exhibition with little content. “On the other hand in this project we find the dance searching the characters and their courses of action, that is the axis of the play,” she affirms.
Mario Fromenteze is an actor of long trajectory in national movies - he worked with Desanzo, Renán and Favio - and he also participated in the original production.
- Each actor, each dance step, each situation are a subtext, our way to express ourselves, and a history is woven. That it is the difference with the tango shows of which there are so many nowadays, where a lot of dexterity is seen but without an underlying story. Older people were very touched in the previous production – he says
Ethel Agostino, author and theater groups coordinator, is responsible for the play writing. As Fromenteze, she recalls the (first production’s) good reviews both from the public and from specialized journalism.
- Tango was not what it is today, it was still on tour in Europe, had not returned. Today is different in the sense that it is traditional. The idea is to show what once was, so that Argentine and foreigners alike have the possibility to see something genuine, somewhat simple. And there is nothing else like that available.
The play premieres Friday, February 17 in the terrace at the Centro Cultural Recoleta, where it will remain until mid March, and then it leaves to tour the Mercosur countries.
THE MUSIC PLAYED
Great composer Oscar Cardozo Ocampo was responsible for the musical selection that accompanies the play, doing arrangements of some themes and composing others. The main tangos played are: El Choclo; El Monito; La Clavada; Papas Calientes; Derecho Viejo; La Yumba; Flores del Alma and Desde el Alma. The foxtrot En un bosque de la China and the bolero Vereda Tropical are also played, among others.
Incredible characters who inspired tangos (VI)
The pulpera Dionisia Miranda
by Héctor Benedetti
Instead of a tango, she was a vals and even two; instead of a real life character, she was one of literature. The life of Dionisia Miranda, who served drinks at a store on the Calle Larga de Barracas, was the stuff of novels in the strictest sense of the word: she was entirely the product of the imagination of Hector Pedro Blomberg. She was the “pulpera” (barmaid) of Santa Lucía.
Era rubia y sus ojos celestes (She was blonde and her light blue eyes)
Dionisia was the daughter of sergeant Juan de Dios Miranda. He died during one of Oribe’s skirmishes when she was fifteen years old. Since then, next to her mother —la Cirila— she tended a bar behind ironwork close to Amalia’s farm.
This house, the Pulpería (bar) del Restaurador was well known in the Southern neighborhoods. More famous was the pulpera that, already grown and her mother retired from the business, attracted with her charms the soldiers of the neighboring headquarters and even those of Rolón, across from the fort. Another pulpería close by, that of La Paloma, was no rival to this general store that, amid different varieties of yerba (N.T. herbal tea used to prepare mate), gin and horse riggings, had been making that misty point of the parish of Saint Lucía happy (or more precisely, excited) since 1833.
The place was protected by a portrait of Rosas and a small statue of Our Lady of Luján, that rivaled for the amount of candles lit under them; the dagger of old Miranda, stabbed into the wall served as a reminder or maybe a warning. Jasmines in the lattice, more in the patio and the serenading of a payador (N.T. gaucho that sang in improvised rhymes) mazorquero (N.T. a member of the informal military police loyal to Rosas) gave a native romanticism to the nights of Dionisia’s pulpería.
There was another pulpería in the area: that of el Avestruz, managed by a jealous mulatto woman, named Isidora Rosales.
Reflejaba la gloria del día
(She reflected the glorious day)
In reality, each establishment had its own and faithful clientele, well differentiated; they did not hurt each other. But Isidora envied Dionisia’s luck: the handsome young men did not arrive to el Avestruz, and the singers at her counter were no match for the ones at Dionisia’s. Those could be heard even in the house of the English minister, up a few blocks; hers were more taciturn people, encouraged by glasses of caña (alcoholic drink made of fermented pressed grape skins and seeds, similar to grappa).
Toward December of 1840 a Unitarian poet began to frequent the Pulpería del Restaurador. His name was Facundo Larrazábal, unconditional of Lavalle, friend of Mármol and of Alberdi. The blond Dionisia stopped paying attention to the guitar of the payador mazorquero. Now she sighed for a young man from the wrong political side, for a lomo negro that also sang cielos and vidalas for her.
The other one, out of spite, changed pulperías and from then on he was seeing drinking his alcohol at the counter of el Avestruz. Isidora had won a small battle, that was obvious; but it was not the same: that spirited Rosas soldier had become a lifeless man.
Seeing that she could not get anything done through the mazorquero, the mulatto decided to take action herself. First she slandered Dionisia; later she confronted her and stabbed her in the chest. She barely grazed her, but the blonde would be left with a scar and a stained bodice.
Isidora went even further: she denounced the Unitarian. From then on there was a price on Larrazábal's head. One night he miraculously escaped a raid, urging his horse in the direction of the river willows.
The following day Dionisia was nowhere to be found. The payador mazorquero, in memory of that great love that he had felt and that he definitely no longer possessed, had helped her to escape. Dionisia Miranda left bound for Colonia in a whaling boat, next to her beloved Larrazábal.
The federal sang again in the patio of the Pulpería del Restaurador, but the patio was empty and there was no one left to hear his serenade.
Y cantaba como una calandria
(And she sank like a lark)
Ignacio Corsini recorded the vals La pulpera de Santa Lucía, by Blomberg and Maciel, in five occasions (with masters dated April 22, May 22 and June 19, 1929). Three originals are known, always under the same numbering: Nacional Odeón Nº 18.582, side B. The chronicles report an eventful and hopeless premiere; little the creators would suspect that this vals would become an exceptional warhorse in constant demand during twenty years.
Some years later a colorful event took place: the same Corsini recorded the vals El Payador de San Telmo by José Lojo (March 4, 1932), clearly the sequel to La pulpera de Santa Lucía. Blomberg, that had never authorized a continuation of his work, published in 1938 a series of short novels to contradict El payador de San Telmo and to tell the “true story” of his famous blond, blue-eyed pulpera. Thanks to this turn of the screw, we know today the details about that woman.
Tangothic revelations (VI)
Violence in tango
by Lic. Eugenio Rataplán
The new creators of tango are not free from being immersed, through their creations, in the agglutinative, dynamic and violent way of life imposed by the city of Buenos Aires, and this is an issue that makes them, directly, members of the same family with the predecessors of their kind such as the Pibe Poncio and Eduardo Arolas.
These initial composers were active participants in criminal mêlées, they possessed hefty police records and they conceived their tangos motivated by that pervasive violence. Nowadays it is noticeable the existence of many antagonistic groups that surround the tango universe, solely motivated by a dark eagerness to compose. I will randomly name some episodes, surely, already known by all of you:
Some weeks ago the “Movement I am not macho and I own it” claimed responsibility for the attack suffered by the celebrated bandoneon player Rubén Juárez. According to the story of some witnesses, active and passive members of the “Movement I am not macho and I own it” hugged the famous musician without warning and they took advantage of the opportunity to stick to his back a small piece of paper that read “I Am Troilo”. R. J. spent all day with this legend “I Am Troilo” stuck to his back and it seems that by early morning when he was returning to his place of residence, the legend was unfortunately misconstrued (N.T. play with words, Troilo is the name of a famous bandoneon player, the word trolo is slang for gay)
Likewise, I can also mention the quasi-criminal act claimed by the Association Gardeliana “Magaldi you are a fraud” that managed to get the fuses to blow in the middle of an Electronic Tango Festival. The revenge of the Electronic Group “We Suck” was to force all of the patrons of a well known milonga of the Capital Federal, to watch the whole, unedited version of Robert Duvall’s movie “Assassination Tango”. At the end of the film the milongueros that were present suffered panic attacks, vomiting bouts and hallucinations. The only one to remain safe and sound, apparently forever, was the young and beautiful dancer, wife of Robert Duvall.
These vehement facts intend to re-create the somber, ardent, and brothel based original creative environment of a whole generation whose visible head was the great Eduardo Arolas.
So dark was the life of this artist that even his death is surrounded by doubt. A couple of different versions are known in this respect. The official story was that E. A. died the 24 of September of 1924 in a Parisian hospice of tuberculosis, and another story circulates about a dancing knife sunk impiously in his chest by a scorned Frog (N.T. slang for Frenchman). But, one way or the other, it remains clear that the problem was with his lungs.
The topic of the summer
In a series of eight meetings that started in February and continue during this month, Mariela Asensio coordinates at the Espacio Ecléctico de San Telmo, an intensive seminar on El actor como creador (The actor as creator). In each day the proposal is to experience training as a process of creation through tools that allow the actor to discover the theatricality in his/her own body.
Tango, universal language
The dance group Tango y Expresión (Tango and Expression) formed by boys and girls with different abilities, appeared in January at the milonga La Baldosa. In front of a numerous audience the dancers showed the moves learned under the choreographic direction of professor Carlos Rodriguez.
“The audience gave us a warm and complete welcome, showing its spontaneous acceptance constantly through the expressions of surprise and strong emotion that these young people stirred up in them from the dance floor” said Gabriela Elías that next to Eduardo Pérez organized the presentation of the new artists Karina Amado, Lucrecia Pereira Mazzara, Nidia Scalzo, Eduardo Spasaro and Javier Trunso.
Last month, the artist Alberto Goldberg developed a workshop that conjured tango and theater classes for intermediate level, advanced and professional dancers.
“In these classes I sought to offer choreographic construction elements applicable to all the branches of tango: show tango dance, theater dance, or social dance” said the artist recognized among others things for Tangos en el Filo de la Noche, Corazoneando, and his participation in Festival Cambalache.
Recalling the big names
With two appearances in Buenos Aires, bandoneon player Carla Algeri proposed a musical journey interpreting tangos to honor the legendary group of Aníbal Troilo with the guitars of Roberto Grela and other artists that integrated the incredible work of Piazzolla.
The presentations were with Eduardo Barilari in guitar, the voice of Eduardo Pulis and Juan Libertella in piano as guest performer.
Farías Gómez for musical revolution
Considered “Padre de la Renovación” (the “Father of Renewal) of folk Argentine music, Chango Farías Gómez appeared at Café Homero, where he merged his work as arranger, composer and interpreter, with the premise of generating a new form “personal and revolutionary, to look at popular art in our country”, he affirmed. This time, the artist performed with his Trio part of his new proposal as it relates to tango and its most important hits.
Oh Love! Of tangos and boleros
In their performance, dancers and choreographers Alicia Orlando and Claudio Barneix, invited the audience to a romantic dance journey along memory lane, outlined by the music and lyrics of the most beautiful tangos and boleros.
That same old music
Returning to the stage of Café Homero, singer Carlos Cabrera, who achieved popularity as a member of Atilio Stampone’s orchestra and developed also an important career as soloist, offered his show Tangos de siempre with guest Argentine singer María de la Paz who is very successful in Switzerland.
The Grupo Tango Protesta presented some days ago Tanguedia Callejera, a documentary made by Marta Noemí Bautis on the Grupo Tango Protesta. The Argentine documentary filmmaker, who lives in New York (U.S.A.), chose in the film to take on the creation and execution processes of Postales Callejeras, a work inspired in everyday life to explore the social reality of the country.
An encounter for all
The Association of Teachers, Dancers and Choreographers of Argentine Tango began the year with the 5º Cultural Encounter of Dancers of Tango with classes, milonga, exhibitions, an important projection of unpublished videos of professional dancers acting in different stages of the world, and the show of tango-oil paintings by plastic artist "Chilo" Tulissi.
New season in Ciudad Konex
Ciudad Cultural Konex presents in this new season an original artistic experience created by Gerardo Hochman and Compañía La Arena. The creator of Fulanos, Vibra, Ronda, Gala and many other prestigious shows, arrived at the main stage of Ciudad Cultural Konex with his new proposal: Sanos y salvos (Safe and Sound).
In the atmosphere generated by the original music score of Omar Giammarco, lighting by Gonzalo Córdova, stage design by Duilio della Pittima and wardrobe by Laura Molina, which re-create the industrial and bare environment of the Abasto oil factory, Hochman’s poetry finds a favorable place for a new search for shared emotions.
Patagonia dresses for Tango
From April 28 to May 1st., the fifth edition of the Festival Patagonia and Tango will take place in San Carlos of Bariloche featuring Raul Lavié in the last show, and also homage to Eladia Blázquez.
During the meetings there will be seminars of Tango by José Halfon and Virginia Cutillo, Tango and Milonga, by Chiche and Marta. Claudio González and Melina Brufman will offer a special seminar of Stage Tango.
A woman’s destiny
A woman arrives to Buenos Aires from Europe to recover her past and she finds tango. That it is the idea that permeates the presentation of Destino inevitable, Tango (Inevitable Destiny, Tango) presented at Café Tortoni Fridays and Sundays. And though during the show there is no text spoken, the stories of the songs performed and the situations are told through images.
The repertoire includes tangos of different eras, from its sources, like El Choclo and La Cumparsita, to the new such as songs by Nora Bilous and Fabián Guerrero.
In February the quartet of guitars Las Bordonas, with the voice of Nacho Cedrún presented their proposal for tangos and milongas at the Club del Vino with the mission of restoring a repertoire that “speaks to us of a Buenos Aires of other times, chosen with great attention to detail, where the audience can enjoy small pearls rescued from old, little known scores, and that tell us stories of crank street organs and singing gauchos with different customs and from other times", they said.
Tango in Channel 7
Sarpando Tangos, was the excuse for Patricia Barone and Javier González trio to start 2006 with an appearance in Channel 7.
With the conduction of Guillermo Fernández and Luis Longhi, the new tanguero hub of Argentine television presented the instrumental trio completed with the presence of Carlos Marmo in bass and Luis Vázquez in bandoneon.
After a large artistic career, with extensive tours around the world spreading the language of tango, María José Mentana completed in February 36 years from her début and decided to celebrate with a special presentation, Aniversario con el Tango.
The singer recalled each phase of her artistic career that started in 1970 at only 9 years of age, when critics in Argentina called her girl prodigy and she shared moments with some of Tango greatest, among them el Polaco Goyeneche, Roberto Rufino, Nelly Omar, Osvaldo Pugliese, Floreal Ruiz, Edmundo Rivero, Alberto Marino, Osvaldo Piro, Tita Merello, Nestor Marconi, Sexteto Mayor, Atilio Stampone and Horacio Ferrer.
The Academia de Estilos de Tango Argentino (Argentine Tango Styles Academy) ACETA, has called an audition for advanced tango dancers, to be held on Friday March 17 and Monday March 20, from 17 to 21 hours.
To be considered, the contestants should be up to 35 years old, have 2 years of dancing experience and they should arrive with a dance partner.
ArteSanto at the Club
During February, ArteSanto presented a cycle of intimate concerts with the greatest tango musicians on late night Fridays and of music of the Rio de la Plata sung with the accompaniment of guitars on Sundays“ The place of encounter was the Club del Vino, where the audience could enjoy the pleasures of Bacchus with the best tango proposals”, the organizers said.
The value of the poetic
The play Pradera en Flor (Meadow in Bloom) has been running since last month in the Templum theatre. It is a work written by Bernardo Cappa, under the direction of Diego Rodriguez. The show, that emphasizes the search of poetic expression by the characters played by Azul Ballone and Daniel Rocchia, will continue playing during the weekends of March.
Taking the pulse to the Gardel prizes
The voting for the nominations to the Gardel Prizes started with news and 553 participants. According to the organizers, this year there was “an enormous growth in the number of postulants with respect to last year, an impressive 40% more than in 2005”.
The selection that since 1999 is made by Capif is done in two phases: in the first one, the Voting Committee, chooses between all the disks and participating artists the ones to be nominated to be part of the 36 short lists categories. In the second phase, the voters define, among each short list, who will be the winner. The winners of the Gardel de Oro from the first awards ceremony on were Sandro (1999), Mercedes Sosa (2000), Leon Gieco (2001), Charly Garcia (2002 and 2003), Babasónicos (2004), and Bersuit Bergarabat (2005).
Night of supporters of tango
The Círculo Cultores del Tango (Circle of Tango Supporters) presented in Concordia, Entre Ríos, a show in which high-level artists participated. The start was in charge of young dancers of the Ballet Firuletes del Plata, with a tango-fantasy performance. Then, the older members of the same ballet danced Rubias de Nueva York (Blondes of New York) with time appropriate wardrobe and choreographic movement that displayed all the elegance and charm of the young ladies of those times. At the end they accompanied to the center of the stage tenor Roberto Taddei, who sang a variety of themes and acquiesced to all the requests. The group Costas sin Fronteras was in charge closing the evening.
Tango for all
The Association of Teachers, Dancers and Choreographers of Argentine Tango launched the First Argentine Tango Teaching Program aimed to the sectors of our society most left behind. The initiative has the support of the Government of the City of Buenos Aires and will allow that low-income neighbors take classes with top-level teachers, in a first phase, in three points of the city. The launch was in the framework of the VIII Festival Buenos Aires Tango and will include a staff headed by Carlos Rivarola, Gachi Fernández, Inés and Carlos Bórquez, Juan Manuel Fernández, Olga Besio, Andrea Castelli, Osvaldo Marchetti, Valentina Villarroel, Carlos Buceta, Valentina Bidondo, Oscar Velásquez, Edith Páez, Federico and Ariadna Naveira, among others.
When tango is caring
In the framework of the Anniversary celebrations of the neighborhood of Caballito, the Asociación Tangueros Solidarios appeared in Park Rivadavia. According to their members, “this came to be with the idea of carrying tango to those that by some reason cannot go to it. We want to dance in hospitals, nursing homes, health centers, in order to give happiness where it is missing and to make tango present in cultural and social life”.
In present time
During the VIII Festival Buenos Aires Tango, singer Jacqueline Sigaut presented her third album, Aquí y ahora tangos (Here and now tangos), with new songs of contemporary authors, many of them written especially for this recording. The CD was produced by Juan Libertella and the interpreter herself, who was accompanied by musicians José Teixidó: guitar, arrangements and musical direction; Lucía Ramirez: bandoneon; Adrián Enriquez: piano; Andrea Rosenfeld: violin; Andrea Alvarez: bass.
Show and new CD
During the first days of March, Alejandra Schiuma presented her tangos, valses and milongas show at Casona del Teatro. The singer was accompanied by talented pianist Alejandro Manzoni, with a repertoire in which the classics coexist with the new expressions of our music. The artists are currently preparing prepare a CD that will be published soon.
From the video club to your home
The presentation of the Todaro-Bravo tango dance system in video added one more entry to the list of teaching methods for the 2x4. The system was invented in the 1950s by Antonio Todaro and Raúl Bravo and practiced by some of the best tango dancers and teachers around the world. In the tape, Antón Gazenbeek and Natalie Laruccia, disciples of Bravo, teach 8 of the system’s complex figures with great instructional detail for the role of the man and the woman, the technique necessary to execute the figures correctly, and they add historic information about the creators of the system. As a novelty, the video has a bonus track, with a photo gallery of historic images of Todaro and Bravo.
Buenos Aires Chronicle to watch at home
“Tango is something that the night whistles and ii is not in any repertoire and it is tango the dance that will breathe the final sigh, with deathbed gallantry. Tango is any symptom of a lullaby. ..” thus starts “Buenos Aires, días y noches de tango”(Buenos Aires, days and nights of tango), in the voice of master Horacio Ferrer, who will return later on to the stage to recount anecdotes about the creation of his main songs.
Images typical of Buenos Aires enrich the text, places with their own name and the smell of tango. Musically, the recording starts with Leopoldo Federico and his orchestra in the Corner Homero Manzi, one of the “owners” of Argentine tango: San Juan and Boedo.
But how is one to define this production that draws in black and white the life, the soul of the national music? The proposal of the general producer, Andrés Mayo, is none other than a document in which live presentations and stories of bohemia; insomnia, love and passion are included.
The collection is presented inside the replica of a bandoneon, and it contains 7 DVDs, one for each day of the week, with more than ten hours of the best tango material, absolutely unpublished and filmed in digital video and with surround sound. It is a limited edition and contains two books in English and Spanish with photographs taken of the images of the video and some curriculum information on the participating artists, presented by “ Chino” Laborde who goes alog the journey through each DVD.
Anticipating its success everywhere, “Buenos Aires, días y noches de tango” is subtitled in Spanish, English, French, German, Portuguese, Italian, Japanese and Chinese. The DVDs are multi-zone and recorded on both sides; one side is PAL and the other NTSC.
Among the pearls offered by the collection, there is an interview with Esteban Morgado, who defines tango as part of his own history assuring that “it is what you breathe in the city”. Immediately afterwards he underscores this with a version of “Adiós Nonino”, accompanied by his quartet. In those images, the playing of the guitarist appears like a succession of magic caresses and the result is worth it.
The work is completed by names like guitarist Horacio Avilano, Osvaldo Montes, Aníbal Arias, Juan “Tata” Cedrón, , Orquesta Vale Tango, Orquesta Color Tango, Rubén Juárez, Juanjo Domínguez and the new generation represented by El Arranque, Narcotango, La Chicana and Tangos Canallas.
With this collection, Tango DVD pays new and deserved homage to musicians and artists that have known how to pay tribute to our national music by dint of quality and work. Set against the work, it is easy to ask how could those moments not have been rescued? In them the feelings of those who love tango are intensified. Because of it, “Buenos Aires, días y noches de tango”, far from being a new commercial expression, is a masterpiece of the audiovisual art, made conscientiously and with a greater goal: to rescue the best of the milonguero passion, a true chronicle of the life of Buenos Aires. Florencia Guerrero
Passion for what is ours
“I have carried teaching inside me for many years, it is my vocation” hurries to describe dancer Andrea Monti, whose teaching experience goes back to 1988, when before starting to teach tango, she taught English and jazz dance in different Buenos Aires institutions. Her tertiary formation and other university level studies, together with the years of experience at the front of a classroom with all kinds of groups and ages, provided her with a solid formation at the pedagogical level that today she uses for her educational role in tango.
“Art and primarily dance have always been my passion” says Monti that studied jazz-contemporary dance, free dance, aerobic and gymnastics jazz, and took many years of classical technique and stretching, “but when I found tango as a dance around 1994, I fell in love with it, it was unequivocal, absolute. I felt that I had found that which was mine and I gave myself to it from that moment on”. After several years of studying and dancing, and of occasional dance partners, Andrea Monti met “Gato” Valdez, her present dance and life partner, in 1998. With him she was able to develop a professional career at an international level both as a dancer and a teacher in the five continents.
It is this international projection they achieved that made the dance couple develop a way of teaching in the course of three or four days seminars. “Our idea is to teach them to dance (not to copy steps), to communicate in the body dialogue that is established through lead and response, to feel the music, to step in the music, to experience it from the inside. That is why I teach tango, because I am a lover of our dance and of our music” Monti assures, moved. In Buenos Aires, this international dancer taught a course of women technique between November and December, in addition to the classical classes of tango for couples.