Tangos performed in theater (First part)

ostly the pieces correspond to the mid- and late 20s and they were all premiered on the occasion mentioned. Their titles are only a small number of the large amount of pieces of the Buenos Aires revue in which the inclusion of tangos and the appearance of their interpreters were the main attraction.

The Academia Porteña del Lunfardo in its communiqué Nº 857 transcribed the research work sent by Oscar Aiello in June 1979.

We will see, in the listing, the absence of two very important compositions: “Mi noche triste (Lita)” and “A la gran muñeca” because they belong to a time quite previous to the mentioned period.

The communiqué begins as follows: «At the seminar about tango and lunfardo that José Gobello conducted in SADAIC, encouraged by the then head of the cultural department of that institution, Mr. Carlos Pais, I had collected the references to tangos sung in theater that I will mention below.

«Here we shall mention ninety-two numbers, in alphabetical order, and their most important details according to the said communiqué:

“Abuelito”: Sung by Lea Conti at the play El rincón de la alegría written by Eduardo Trongé and Carlos P. Cabral, at the Teatro Buenos Aires, by the Enrique Muiño’s company on June 3, 1926.

“Adiós que te vaya bien”: Performed by Azucena Maizani in Azucena es una papa, composed by Enrique Delfino and Alberto Vacarezza, at the Teatro Sarmiento, by the Compañía de Revistas Azucena Maizani, on January 19, 1929.

“Andate con la otra”: by Azucena Maizani in Misia Presidencia, written by Ivo Pelay, Luis César Amadori and Humberto Oriac, at the Teatro Maipo, by the Compañía de Grandes Revistas, directed by Ivo Pelay, on March 22, 1928. 3rd. Performance.

“Aquel tapado de armiño”: by Sofía Bozán in Buenos Aires tiritando, written by Godman and Sarno, at the Teatro Sarmiento, by the Manuel Romero’s revue company on July 28, 1928.

“Aquella cantina de la ribera”: by Juan Ferrari in the play with the same name written by Federico Maertens and Arnaldo Malfatti, at the Teatro Liceo, by the company led by Marcelo Ruggero and León Zárate on August 20, 1928.

“Aquellos tiempos”, written by Narciso López and Enrique Cadícamo, by Lucy Clory in the play En la comedia está la fija by S. Bertelli García, Guillermo Cayol and F. Dorán at the Teatro Comedia by the Compañía de Revistas Modernas, directed by Bertelli García and Cayol on January 27, 1928.

“Aquellas farras (Argañaraz)”: by Rosita Montemar in Carlos Schaefer Gallo’s Las muchachas de antes no usaban melena at the Teatro Smart, Compañía Blanca Podestá, on May 20, 1927.

“Araca corazón”: by Libertad Lamarque in Alberto Vacarezza’s Cortafierro at the Teatro Nacional in March 1927. (It is not included in Aiello communiqué)

“Atorrante”: by Enrique Famá in César Ratti’s and Juan A. Bruno’s Metejón, berretín y cía. at the Teatro Smart, Marcelo Ruggero’s company, on May 3, 1928.

“Azucena”, written by Rafael Tuegols and Enrique Rando: by Azucena Maizani in Alberto Ballestero’s Navidad Revista at the Teatro Pueyrredón (neighborhood of Flores), by the Compañía Argentina de Revistas. Azucena Maizani, leading voice. Pepe Arias, leading comic actor, on December 24, 1925.

“Bajo aquel farol”, written by Carlos Romeu: by Lucía Montalvo in Carlos Romeu’s Cuentos de todos colores at the Teatro Príncipe (Cabildo 2327), by the Compañía Argentina de Revistas de Carlos Romeu, on November 21, 1928.

“Bataclana”, written by Cátulo Castillo and Pablo Suero: by Eva Franco in Manuel Romero’s Mariposas del Bataclán at the Teatro Comedia by the Compañía Eva y José Franco, on July 29, 1927.

“Bohemia”, penned by Héctor Blasi, Rodolfo Zenner and Enrique Cadícamo: sung by Enrique Delfino in Zenner’s and Cadícamo’s Así nos paga la vida at the Teatro Pueyrredón, by the company headed by Gloria Bayardo and Alemany Vila, on August 11, 1926.

“Buena mano”, written by Francisco Russo and Manuel Zerau: by Domingo Conte in Reynaldo Pignataro’s De nada sirve guapiar at the Teatro Cabildo (Cabildo 2347), by the Juan Dardés’s company, on July 22, 1926.

“Calle Corrientes (Donde nací)”: by Ignacio Corsini in Julio F. Escobar’s Se acabaron los otarios at the Teatro Cómico, by the Luis Arata’s company, on July 29, 1927.

“Compañero”: by Sofía Bozán in Hay que hacer algo por la revista, written by Elías Alippi, Enrique Maroni and León Alberti, at the Teatro San Martín, by the Elías Alippi’s Compañía Argentina de Revistas, on September 8, 1926.

“Cuando bronca el temporal”, written by Gerardo Matos Rodríguez and Ernesto Marsili: by the actor Croce (sic), at the Marsili’s play with the same name, at the Teatro Buenos Aires, by the Compañía Enrique Muiño, on November 2, 1928.

“Chiche”: by Rosita Montemar in Fernández’s and Pibernat’s Las nenas están fresquitas, at the Teatro Cómico, by the Compañía de Grandes Revistas y Vaudevilles led by Carlos Pibernat and Sergio Allen, on January 20, 1928.

“Dejame con mi tristeza”, written by Ernesto De La Cruz, Enrique Rando and Eduardo Beccar: by Azucena Maizani in Enrique Rando’s Atención al sartenazo, at the Teatro Porteño, by the Compañía Nacional de Revistas Modernas Azucena Maizani, on April 30, 1927.

“Don Juan Malevo”, penned by Francisco Lomuto and Eduardo Beccar: by Azucena in Alberto Ballestero’s and Enrique Rando’s Pura milonga criolla, at the Teatro Porteño, by the Compañía Nacional de Revistas Modernas Azucena Maizani, on August 16, 1927.

Adolfo Avilés’ and Enrique Maroni’s “Entre sombras”: by Ignacio Corsini, in Maroni’s and Orfeo-Giudice’s El barrio está de fiesta, at the Teatro Cómico, by the Luis Arata’s company, on July 19, 1927.

Eduardo De Labar’s and Alfredo Navarrine’s “Estampa rea”: by the actor Vicente Climent in Ivo Pelay’s and Luis César Amadori’s Todo el mundo debe verla, at the Teatro Comedia, by the Compañía Moderna de Operetas y Revistas led by Ivo Pelay, on September 19, 1927.

“Esta noche me emborracho”: by Azucena Maizani in Pelay’s, Amadori’s and Humberto Oriac’s Bertoldo, Bertoldino y el otro, at the Teatro Maipo, by the Ivo Pelay’s Compañía de Grandes Revistas, on March 22, 1928. 2nd. performance.

Osmán Pérez Freire’s and Antonio Martínez Viergol’s “El beso de la muerte”: by Ignacio Corsini at the Francisco Collazo’s El café del Marsellés, at the Teatro Apolo, by the César Ratti’s company, on August 28, 1922.

Antonio Scatasso’s and César Bourel’s “El ciego”: by Carlos Marambio Catán, in César Bourel’s Chi lo sa, at the Teatro Apolo, by the Compañía Méndez–Daglio, on December 5, 1924.

Augusto Berto’s and Juan Sarcione’s “El dopado”: by the actor Juan Sarcione, in Mario Bellini’s Cocaína at the Teatro Comedia, by the Milagros de la Vega-Carlos Perelli company, on January 31, 1925.

“El parisién”, written by Scatasso and Carlos Juncal: by the actor José Cicarelli in Torcuato Insausti’s and Domingo Parra’s El huésped de medianoche, at the Teatro Sarmiento, on March 12, 1925.

“El poncho del olvido”: by Ignacio Corsini in the play with the same name written by Maroni and Giúdice, at the Teatro Apolo, by the Arata-Morganti company, on June 28, 1926.

“El tango de la muerte”: by Juan Sarcione in the play with the same name and by the same author at the Teatro San Martín, by the Compañía Arata-Simari-Franco, on August 5, 1922.

“El timbero” written by Francisco Canaro and Juan Andrés Caruso: by Ernesto Famá in Caruso’s and Carlos Cabral’s En la timba de la vida, at the Teatro Smart, by the Marcelo Ruggero’s company, on May 11, 1928.

“Farolito viejo”: by Luis Vecchio, in Riú’s Del otro lado del Riachuelo at the Teatro Buenos Aires, by the Compañía Enrique Muiño, on July 23, 1927.

Alcides Gavatelli’s and Germán Ziclis’ “Flor sin aroma”: by Domingo Conte in G. Ziclis’ and Domingo Bernardo’s Aquí les traigo este plato, at the Circo Teatro Ideal (Asamblea 57), by the Compañía Argentina de Petit Revistas Astrakanadas y Obras de Gran espectáculo, with the leading comic actor Miguel Lanceta, the sopranos Salazar Sisters and the baritone singer Luis Conte, on January 23, 1926.

“Gente alegre” written by Scatasso and Jorge Curi: by Charlo in the play with the same name by O. P. Sargenti, at the Teatro Ideal, by the Compañía Nacional de Comedias y Sainetes, on November 12, 1925.

Ernesto De La Cruz’s and Francisco Marino’s “Golondrina”: the singer is not mentioned. In the play Yo busco un corazón by Bourel and León Alberti, at the Teatro Porteño, by the Compañía Bourel–Alberti, on March 24, 1928.

“Gorriones”: by the actresss Lea Conti, in the play with the same name by Oscar P. Bertrán, at the Teatro Buenos Aires, by the Compañía Enrique Muiño, on July 8, 1926.

Carlos Romeu’s “Hembra”: by Lucy Clory, in F. Dorán’s, Bertelli García’s and Cayol’s Buenos Aires al frappé, at the Teatro Sarmiento, by the company led by the playwrights, on January 13, 1928.

Adrián Russo’s and Ivo Pelay’s “Hermanita”: by Azucena Maizani in Pelay’s, Amadori’s and Humberto Oriac’s El paraíso de las mujeres, at the Teatro Maipo, by the Pelay’s company, on July 18, 1928.

“Labios pintados”, written by José Bohr and José C. Barros: by Florindo Ferrario in Alberto Ballerini’s Historia triste de una mujer alegre, at the Teatro Smart, by the Compañía Blanca Podestá, on December 10, 1924.

“La canción del cabaret”: by Ignacio Corsini, in the play with the same name by Mario Flores and Luis Ricur, at the Teatro Apolo, by the César Ratti’s company, on July 6, 1923.

“Fosforerita”: by Azucena Maizani, in Alberto Ballestero’s and M. Coll’s ¡Ra… Ra… Ra… Flores, Ra!, at the Teatro Pueyrredón of Flores, by the Compañía Artística de Revistas de A. Sequeiros, on November 25, 1925.

“Lagrimeando lagrimeando”: by Ignacio Corsini, in Alberto Novión’s Te quiero porque sos reo, at the Teatro Cómico, by the Compañía Luis Arata, on September 16, 1927.

“La Marianella la va, la va”, written by José Ceglie and Carlos De Paoli: by Olinda Bozán, in C. De Paoli’s La taba de la vida, at the Teatro Nacional, by the Compañía Nacional de Sainetes, Comedias y Dramas led by Pascual Carcavallo, on September 26, 1928.

“La mascotita”: By the female singer Cándida García, in Luque Lobos’s El taita de Triunvirato, at the Teatro Apolo, by the César Ratti’s company, on March 1, 1922.

Scatasso’s and Caruso’s “La oveja descarriada”: by the actor Florencio Parravicini in Ricardo Hicken’s and E. Sáez’s El maestro Trinidad y su madrina, at the Teatro Argentino, by the Compañía Parravicini, on November 4, 1927.

“La patotera”, written by Manuel Jovés, Jorge Dowton and Luis Rodríguez Acasuso: by Olinda Bozán in Dowton’s and Acasuso’s El inglés de Santa Cruz, at the Teatro Avenida, by the Compañía Vitone-Pomar, on April 12, 1923.