URUGUAY IN BUENOS AIRES-PARIS ROUTE NOTE 4
Write Walter Ernesto Celina
waltercelina1@hotmail.com - 18.03.2010
Ramón Collazo Write Walter Ernesto Celina
waltercelina1@hotmail.com - 18.03.2010
Certain aspects of the River Plate culture show the strong association that has marked above divisions political and institutional.
How could it be otherwise, this is reflected in popular expressions of strong accent.
If it comes to music, can not be ignored the contribution to the rootedness Uruguayan tango.
A little text to appreciate the Araca , Paris!, written in 1930 and immortalized by the voice of Carlos Gardel, one would suspect that the intense atmosphere of Buenos Aires has its origin in Uruguayan sources, both in words and music.
How could it be otherwise, this is reflected in popular expressions of strong accent.
If it comes to music, can not be ignored the contribution to the rootedness Uruguayan tango.
A little text to appreciate the Araca , Paris!, written in 1930 and immortalized by the voice of Carlos Gardel, one would suspect that the intense atmosphere of Buenos Aires has its origin in Uruguayan sources, both in words and music.
Maestro José Gobello
includes it in the book of letters and I have been discussing history, with places of interest.
About the author sums up: Send Carlos César Lenzi, playwright and Uruguayan diplomat, music by Ramón (the parrot) Collazo. Carlos Gardel recorded it on November 4, 1930.
includes it in the book of letters and I have been discussing history, with places of interest.
About the author sums up: Send Carlos César Lenzi, playwright and Uruguayan diplomat, music by Ramón (the parrot) Collazo. Carlos Gardel recorded it on November 4, 1930.
Indeed, both were important references in the show.
Lenzi, in 1925, was created with leading fellow musician Edgardo Donato, A media luz, a composition that swept the world, whose suggestive lines remain in the collective memory (What soft velvet, the half-light of love!) .
His prolific record linking him to the Upper Room Tabaré with Fernán Silva Valdés, and Julio Rodriguez Yamandú B. Mendilaharsu. Magazine theater and told him among his people, with another Montevideo, Angel Curotto. Luis Cluzeau Mortet musicalized lyrical composition The tops of the mountains . Miguel de Unamuno The ascetic praised his poems . Translated into French, collected laudatory criticism of Jean Cassou. Friend of the star, appears with him in a photo taken in Nice.
Lenzi, in 1925, was created with leading fellow musician Edgardo Donato, A media luz, a composition that swept the world, whose suggestive lines remain in the collective memory (What soft velvet, the half-light of love!) .
His prolific record linking him to the Upper Room Tabaré with Fernán Silva Valdés, and Julio Rodriguez Yamandú B. Mendilaharsu. Magazine theater and told him among his people, with another Montevideo, Angel Curotto. Luis Cluzeau Mortet musicalized lyrical composition The tops of the mountains . Miguel de Unamuno The ascetic praised his poems . Translated into French, collected laudatory criticism of Jean Cassou. Friend of the star, appears with him in a photo taken in Nice.
Ramón Collazo was a central figure in Uruguayan carnival since 1920, which was designed with the famous Athenian Troupe, from which emerged the Oxford . Tango Goodbye my neighborhood, its authorship (old neighborhood that I go, I give you my last goodbye ...) , was recorded with this group, remembered for her real counterpoint to 69 A , inspired by Salvador Granata, whose tenor leave fond memories.
Collazo had an excellent musical education, acquired in the Institute Verdi. He formed his orchestra in Buenos Aires, recording for Odeon . One of the first national films, I'm happy Soltero, it had the musical author and actor.
In his tribute, Summer Theatre Parque Rodo, Montevideo, agora of the carnival, bears his name. Was inspired, too, sets not forgotten as parodic chocolate and musical moment. Remember
Collazo had an excellent musical education, acquired in the Institute Verdi. He formed his orchestra in Buenos Aires, recording for Odeon . One of the first national films, I'm happy Soltero, it had the musical author and actor.
In his tribute, Summer Theatre Parque Rodo, Montevideo, agora of the carnival, bears his name. Was inspired, too, sets not forgotten as parodic chocolate and musical moment. Remember
Gobello the tango's popularity had acquired in Paris around 1912. Raises a note of L'Ilustrattion , August 1913. I draw these lines
appointment gobeleana: "At the same time it has been installed as owner of all the good dance halls, has won our language, which immediately opened the treasures of his grammar:" Voulez vous tanger ? (Want / s thong?; the River Plate we said: "Dance?, Shall We Dance? And now, tutear Dance? WEC), were interrogated most natural way in the dance world winter and spring ... "
appointment gobeleana: "At the same time it has been installed as owner of all the good dance halls, has won our language, which immediately opened the treasures of his grammar:" Voulez vous tanger ? (Want / s thong?; the River Plate we said: "Dance?, Shall We Dance? And now, tutear Dance? WEC), were interrogated most natural way in the dance world winter and spring ... "
Another tablet, closer in time, Gobello located in mid-1922, in a commentary that makes Reason Enrique Gómez Carrillo, referring to the adjectives managed by La Revue Mondiale before the triumphal entry of our music in the City of Light: "wild dance ... and black, without grace, immoral, corrupting, dangerous."
In Araca, Paris! , so ours by Uruguay and Buenos Aires, the gigolo , returns to its place of origin, after picaresque adventure, trading their hopes for a Salute, Paris!
ARACA, PARIS! Pianta
Alsina Bridge to Montmartre / pa all beating me 'm'engrupir. / You got the look p'acomodarte Creole / with old Frenchman who goes to dancing. / What do you do in Buenos Aires? Do not be otario
! / Amur Tabarís these milongas. / Tango with three cuts're a millionaire ... / "Morocho and Argentina? King of Paris!
Araca, Paris! / Salute, Paris! Raja
Montmartre / Piantata, unhappy. / If you go to Paris / morfar you will not. / No mines sea lions / and must laburar. / Volvete p'al neighborhood and have milongas, / milongas diqueras / you know how to love.
Araca, Paris! / Salute, Paris! /
Raja of Montmartre; / Piantata, unhappy! I grabbed
luxury train, crazy 'and happy, / - Bon soir, petit. Je t'aime, tu es mon Coco - / with a very one-eyed fat vento / not me and I gave even half a tack. / I threw the anger and handsome, pa 'cut me, / a slap in the cream is embedded. / Police, judges and a passport ... / Y ended my story as a gigolo. **
Alsina Bridge to Montmartre / pa all beating me 'm'engrupir. / You got the look p'acomodarte Creole / with old Frenchman who goes to dancing. / What do you do in Buenos Aires? Do not be otario
! / Amur Tabarís these milongas. / Tango with three cuts're a millionaire ... / "Morocho and Argentina? King of Paris!
Araca, Paris! / Salute, Paris! Raja
Montmartre / Piantata, unhappy. / If you go to Paris / morfar you will not. / No mines sea lions / and must laburar. / Volvete p'al neighborhood and have milongas, / milongas diqueras / you know how to love.
Araca, Paris! / Salute, Paris! /
Raja of Montmartre; / Piantata, unhappy! I grabbed
luxury train, crazy 'and happy, / - Bon soir, petit. Je t'aime, tu es mon Coco - / with a very one-eyed fat vento / not me and I gave even half a tack. / I threw the anger and handsome, pa 'cut me, / a slap in the cream is embedded. / Police, judges and a passport ... / Y ended my story as a gigolo. **
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