n the history of singers there was no similar case to his. He was a hinge between the orchestra singer in the 40s and the soloist of the 50s. He was a popular idol and this was evidenced up to the end of his life because his fans never forsook him in spite of the fact that his voice had declined noticeably through the years.

The nine years in Osvaldo Pugliese's orchestra were revealing and favored the success which would follow in his career as soloist. During these years he hypnotizes the audience particulary women, not only with his voice but also with his charming look. We can say, with no fear to be wrong, that his first period was enough to make him in vogue the rest of his life.

Although the strength and freshness of his voice were lost early, his style, devotion and peculiar dramatism were enough to keep him as an idol.

Alberto Morán was Italian, he was born in Strevi, a city near Milano. He arrived in Argentina at four, finally settling in Buenos Aires.

He began to sing in a neighborhood group, and soon entered a second line orchestra which had some success. It was led by the bandoneon player Cristóbal Herreros, and with him he performed at the café El Nacional.

The young singer attracted the attention of the maestro Osvaldo Pugliese who asked some of his musicians to go to listen to this singer in order to have their opinion.
Finally Pugliese took him to Radio El Mundo for an audition after which he hired him while at the same time he advised him to use more his mezza voce.

Morán, as many other singers, never studied neither music nor singing, what added to his impassioned style and his unconventional way of life, made him risk his voice to such an extreme that his voice declined very early.

He recorded 54 pieces with Osvaldo Pugliese from January 1945 to March 1954. But the success achieved did not result in equivalent economic reward, so this made his relationship with Pugliese not to be the best.

From the technical point of view, the period with Pugliese is the most interesting either because of his fresh young voice or also due to his delicate phrasing which he would later abandon in his stage as soloist. His renditions of “La Mentirosa” (by Anselmo Aieta and Francisco García Jiménez), of “Quiero verte una vez más” (by Mario Canaro and José María Contursi) and of “Desvelo (De flor en flor)” (by Eduardo Bonessi and Enrique Cadícamo) are examples of this.

When he withdrew and assembled an orchestra led by the pianist (Armando Cupo), he began his decline even though his success continued with no limits. When he was more than 70 years old, when he was not even a bad mimicry of what he had been, he kept on awakening applause and hurrahs.

His repertory was wide and varied, and his songs most requested were: “San José de Flores”,“El abrojito” and “Pasional”. He recorded 46 times with Armando Cupo from August 1954 to May 1959. They would meet again between 1968 and 1970 adding 24 titles more. His recordings amount to a total of 152 renditions.

El Tano Morán died poor, embittered and without resignation to the passing of time and the changes it produces, wrapped up in a deep depression in spite of the love of his faithful fans who clapped their hands till the end.