by legazkue '
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lust in men, women pride in the sins of the tango by Amilcar Legazkue 'uruguayinforme ------------------------ FUELLAZOS
OF UNPRECEDENTED AND RAJA
. Terevinto Paul sang his first song at age 4: "The little store in Santa Lucia." At 12, his parents, at the insistence of friends took him to Sunday Dente, who told him: "Come next month, which begin with me."
For fifteen years he devoted himself to the lyric, but his preferences were as canzonetas Italian melodies, "Core Ungrateful," "Mattinatta", "Torna Surriento", and so on.
then joined the trio led by musician Tacuarembó Scayola Heber.
Since then, developing melodic and his face is accompanied by orchestras like Sergio and Blue Key, the Indiana palls, James Light, and by excellent pianists Luis Dogliotti, Jaures Lamarque Pons, and Antonio Panchito Nolé Huarte. He appeared in places like the Teatro Solis, the Sala Verdi, Teatro Florencio Sánchez, Ateneo de Montevideo, Zitarrosa Room, House de Asturias, Casa de Italia, Palacio Peñarol, Arcobaleno of Punta del Este, El Hornero, The Cottage and Park Hotel, offered a recital at the Teatro del Ateneo de Montevideo, under the title "Two blocks to the victims' intended estubo collect building materials for those affected by recent floods. So did
in the Summer Theater with Mexican Marco Antonio Tobal and nightclubs in Pygmalion, Chez Charles, Bonanza, Haras del Lago, Parador del Cerro, Kibon and Sapphire Room of the Victoria Plaza, and countless other spaces more.
recently has traveled three times to Spain, acting in Palma de Mallorca, Galicia and Valencia. ----
CLUB DE LA GUARDIA NEW cd release
Ayui Editions and the Department of Culture through Tango in Work, UD invite the submission of Volume 1 of the collection
Tabaré
Leyton and Alvaro Carvallo Alvaro Carballo (Maldonado, Uruguay journalist The Observer
TANGO CLUB LA GUARDIA NEW
For the first time in digital format you can listen to four of the best bands that performed at the concerts of the recalled Club New Guard: Cesar Zagnoli Trio, Quintet of the New Guard, Quartet and Quartet Luis Pasquet Toto D'Mario.
This first volume includes 23 works recorded live, which account of refinement and quality to be tango in Montevideo in the early sixties.
In 1954 he founded the club in Montevideo Guard new mythical group that defined themselves as "merely cultural institution devoted to the study and dissemination of good tango."
was conceived by Horacio Ferrer, Jorge Rodolfo Rodríguez Seijo and Lourenco, along with a host of young enthusiasts and journalists. For twenty years developing a fruitful work exposure and assessment of authentic tango of all time.
In those two decades of experience were routinely lectures, schedules teaching, roundtables, presentation of interpreters, exhibits, slide show and film, etc. Different composers
works dedicated to him, as Aníbal Troilo ("A New Guard) and Astor Piazzolla (" Brown & Blue ").
This is a key document in the history of Uruguayan music.
tango lovers of good music and FUN-FUN citizens in celebrating the departure of the first volume of THE TANGO OF THE NEW GUARD, which has already earned public and critical acclaim for the quality of its content and the opportunity to recover tango sound of the music scene that he did time in the late Montevideo 50 'and a good addition to the 60'
----- - "It's the folk dance world's deepest," said American writer Waldo Frank, a perception confirmed the dancer Isadora Duncan: "I had not danced never a tango, but a young Argentine who was my guide in Buenos Aires forced me to try. My first timid steps I felt my pulse rate responded to the provocative dance that languid voluptuous, soft like a long caress, intoxicating as love under the midday sun and dangerous as the lure of a tropical forest. " Graciela Vera
The other day I read several Otari who believed in the newspaper La Nacion on
tango. The majority (thousands of flies can not be wrong) pointed out that the tango
is a dying genre. Search And we try to outline in this humble space
, persistent search, rich, complex, multiplying the voices and lights
trails, creates, and retraces the walk, that this search is
the last slap of the drowned . I regret to inform all those who are equivocados.Por piscuic So we buscando.CLARIN
On the essence of tango
capacity development and renewal through the ages, has been a fundamental and permanent characteristics the tango, which has allowed updated in the light of the changes and popular sensibilities. This is well known by those distinguished representative expressions of the age and the course of its evolution. Even the most common of the devotees and regular listeners of expressions of gender, you may notice the variety of styles and forms of expression both in terms of instrumental and singing. What is often not considered is that from its early stages, every contribution, every attempt at change, led to the subsequent criticism and rejection from the "stragglers" on duty. Testimonials abound about such questions and there since shortly after the tango was born and consolidated its rhythm and structure. One of the arguments meneados was to preserve the "essence", but usually what it was clarified that "essence", which otherwise was being different as the tango itself was changing. One of the few who has referred to the "essence" and defined and inquired in his short work entitled The essence of the tango (published in 1980 by "Cuadernos de Tango y Lunfardo") has been José Gobello. And one of the main conclusions he reaches in his analysis, is that mind and bumpy "essence" is something mutant according to each time and accidents of the city's essence that expresses tango (city's essence understood in the broadest sense, not limited only the geographical area) as affecting the cultural, customs, lifestyle, language, tastes, etc.. as well as the resulting musical influences and / or poetic predominant. In other words, this essence is not fixed, stationary, but changing, like the tango as its history and development is demonstrated through so many works.
is easy to see that among the tangos of Bevilacqua, Greco and Fred and Julio and Francisco De Caro and Joaquín Mora, there is a clear difference. This, without being compared to later productions (forty, pre-avant-garde or modern) that would move to trials and revealing conclusions. An example would confront or Pontius Villoldo tangos with Troilus or out. It will find the same essence, yes, but still different, the same way that we can be the same as in our youth, but also are other, because time and life has changed and we continue to change.
Perhaps the appearance of works in various stages mentioned (such a diversity of styles) raises the cry of more than one unchanging: "This is not tango. Tangos were those of ..." (And here we place the names according to personal tastes and times.) So where is the essence if they are all different? Here's the key in understanding the phenomenon the tango, as it has been given and given, recognized in the future to its substance and evolution as its hallmark. And that is its real essence: its fidelity to the essential characteristic of each era (with their historical) always nourished its roots and sources of water running down the sap. The city of 1910 is not 2010, obviously. It is possible that an inhabitant of then brought up today by a miraculous event, say to see this landscape: "This is not Buenos Aires." And be right, is not it, is this. And the tango was born today has to be sure that he knew, but ours (if tango, I add). In this apparent game is another key. A new city, new tango (and therefore different). Do not deny the inhabitants of the future possibility of knowing how we were - artistically expressed in tango - in this decade of the century 21. Do not freeze essentially prolonguémosla with the same root. And the tango and remain in effect through time. Hector
Black (Note published in the Bulletin of SADAIC, No. 3 - April 2010) ----------------------
battered Argentine tango tango nuevo or electronic tango, or alternative tango, or tango developed 
BY Victor Danelinck
After 8 years of yirar Europe with our beloved and beleaguered Argentine tango, working in almost all Old World countries, I decided to write, to express in a forum friend, a conclusion which, though shared by many, it is politically incorrect, and as such is systematically silenced: "The so-called tango nuevo, not is neither new nor is tango, and I have a dung recontrapodrido. " I know this well, plainly or euphemism, it sounds very diplomatic, but that is precisely my intention. And I have reasons, which happened in detail: BY Victor Danelinck 1) I never heard one of those called Tango Nuevo, which has even a 5% of the poetic, musical, emotional, from the classics.
2) If you've heard, ad nauseam, as take old recordings, Gardel, Zitarrosa, Rivero, etc., without any merit to superimpose a stupid chipún, chipún ... above, and a trivial text, to sell as new. Again nothing! They have managed to make something old and good, a new and bad.
3) Never have I found, as a dancer, intensity differences, breaks, adages, the crescendos, the shot with the great orchestras of our tango, tango orchestras such calls again.
4) The terms of those stupid wilted danced monotone, are also bland, depersonalized and standardized and subject to the corset of fashion in many milongas supposedly "evolved"
5) The beauty of these dancers give me rejection, from his clothes to his body attitude.
thousand times said they are seeking, experimenting. Ok, keep looking, and when they find something, alert. Here it
make an additional comment: I've seen dozens of exhibitions of great dancers (Naveira, Salas, Chicho, Maple, etc..) Dancing beautifully using one of these recordings, electronic tango, electrotango, or whatever you call it. And of course they are good, because they are monsters of the dance, and then whatever you do do well. They will also, if you put the Marseillaise, the march of Garibaldi and the Troubadour. His talent overshadows music. But it is not, nor ever will be a merit of the music. Quite the contrary. And if not, try to see a couple bad dancing Gotan Project, for example. It is to commit suicide!
is not my intention to deny the evolution of tango, quite the contrary. It would be good to remember that many years ago, Julio de Caro revolutionized the tango. (Will made tango again?). Years later, the great Osvaldo Pugliese quilombo again made with a different conception of music, back in the 60, and obviously Astor Piazzolla, still resisted by conservatives, and the dancers of today, they tango in a different way. But always respect the essence. Y Sencillito proof of this is ever the tango, even with their evolution, need further definition. It was always just: Tango.
Now it should be defined as new tango, or tango-mail or alternative tango, or tango developed. Sanata!
take to confess that I have discussed these issues with many colleagues, many of which are fully consistent with these terms, but still will not admit it publicly because it would undermine their jobs, and I will respect their identities to avoid harm. Must earn their bread, and that is logical, marketing forces us to lie sometimes.
I also noticed, in the long tours of various countries, the number of teachers engaged in tango style, without having the foggiest idea of \u200b\u200bwhat is the true Argentine tango, its roots, its feeling and sensitivity. To this point comes this insane trend, I heard of "professors" who had no idea who or Di Sarli Pugliese. I will not mention their names here, but they are spreading, and teaching in theory, our tango.
Well, that's it. I said. I hate that crap so-called tango nuevo. And I challenge anyone, that in 5 years at most, we see that this fashion was frivolous and empty.
But sure continue dancing and enjoying the great as always, the Caló, the D'Arienzo, the Troilo, Pugliese, Di Sarli, etc., etc.
And of course, if new tangos, tango tango but I'll be the first to dance and enjoy it.
Greetings to the friends of the beautiful Rosary with the permanent desire to return. Victor
Danelinck.FUENTE: tycp, Schou
Ricardo and Rosario tango bar
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Diria Jaime Roos-Always there playing for the same people say "I saw it" said Kanela
"There's a young interpretation of mind Discepolo and impressive choreography. Rather
Storm.
Gorzy said we who offend us when Argentines play the enojamos.No Gardel.Nos cumparsita and give them ball (to ours) and popularized them. PERIPHERAL
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tango project
Dance: Gabriela Farías Eduardo Ferrer Guillermo Fleitas Chenkuo Che Sebastian Niz Folco Federica
Lighting Design: Gonzalo Córdova Assistant: Leticia Skrycky Music: Fernando Goicoechea
Direction and Choreography: Folco Federica.
The tango singer Pablo Terevinto acts on Wednesdays at 22 am on the grill rest MANDINGO, Luis A. Herrera and Vaz Ferreira. Has provided performances in Puerto Mulata, Mexico APCR promenade esq. Beirouth.
soon be presented in a tango show with singers and dancers at the Teatro Alfredo Moreno de Malvin.
Manager: Elba Neck
elbatimoncuello@hotmail.com
......... Paul Terevinto - Café La Humedad - Tango. ... Paul Terevinto queue - Morning sail a barco.wmv24 views pwterevinto · 3:05 +. Added to ...
il.youtube.com / watch? V = tUeww0VQZq0 & feature
Hide message in Inglés
Paul Terevinto - Uno.wmv
http://www.youtube.com/watch?v=38LznH-vgBc ---- ------------------------
A media luz / Tango ...
That tango was "Half Light", released by the singer Lucy Clory at arise in the theater of Montevideo Catalunya, in the show "Your Majesty ...
http://uruguaytango.blogspot.com/2009/12/media-luz-tango-car
- Bandoneon Tango "A media luz" version
Uruguayan Tango show in Montevideo. Uruguay Matos Rodriguez with the orchestra. ...
queue julio iglesias tango
twilight ... Http://www.youtube.com/watch?v=jXPqvTL8VHQ&feature=related by legazkue '
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