Stravaganza Tango - Tango por si solo

Transcription

Galería de Fotos / Photo Gallery
Educación
En el/At Bar Los Laureles
1º Encuentro
Internacional
Tango Para
Músicos
Se realizará del 21 al 27 de
Julio de 2014 en el Espacio
para la Memoria (ex ESMA).
Doris Bennan (izq./Left), propietaria y
directora/owner and director, y colaboradores/
with assistants, Jean Pool, Elide Castelli,
Soledad Nani y Marcelo Bottaro.
Cumpleaños de/Birthday Party for Valerijs
Jakovlevs
En la/At the práctica Abrazando Tangos
El Encuentro prevé la realización de diversas clases,
prácticas grupales, charlasdebate, clases magistrales y
conciertos públicos.
1º Aniversario de La Milonga de Elsita,
que organiza Elsa Amodio
Los maestros Camila Fontán y Matías Díaz
Está destinado a músicos
de todas las latitudes que
deseen acercarse, conocer,
compartir y aprender todos
los elementos técnicos fundamentales de la música del
tango.
Camila Fontán (o) y Matías Díaz (x) con los
alumnos
El equipo docente incluye
a: Ramiro Gallo, Ignacio
Varchausky, Diego Schissi,
Julián Peralta, Exequiel
Mantega, Paulina Fain,
Federico Pereiro, Hernán Possetti, Gustavo Hunt, Patricia
Andrade, Adrián Enríquez,
Adrián Lacruz, Jorge Jewsbury, entre otros.
Organizan: Tango Sinfín y la
Secretaría de Cultura de la
Presidencia de la Nación.
Los directores y alumnos de El Taller de Bucarelli festejaron el Fin de Curso/The directors and
students of Bucarelli’s Workshop Year End of Classes Party
Más fotos en/More photographs on
34 B.A.TANGO
Buenos Aires Tango
Marzo a Junio 2014
/Tito Palumbo - Fotos - Álbumes
Contactos para mayor
información: Blog: http://
tangoparamusicos.wordpress.
com; e-mail: [email protected]; Web: www.
tangoparamusicos.org; Facebook: TangoParaMusicos.
Translation on page 62
Espectáculo
Stravaganza Tango
Y ahora le toca al tango. Flavio Mendoza
viene triunfado con sus espectáculos
“Stravaganza” que presenta en Buenos
Aires y en Villa Carlos Paz. Allí despliega impactantes coreografías, delirantes
escenografías, con abundancia de acrobacias acuáticas y brillantes vestuarios.
El exitoso director y coreógrafo decidió
apostar a nuestro género popular. A
Flavio Mendoza
mediados de este año estrenará en el
Teatro Broadway “Stravaganza Tango. Sin reglas para el amor”,
junto con Ariel Diwan su habitual productor. Contará una historia enlazada con nuestra música ciudadana y el folklore, con
acrobacias. Habrá bailarines, una orquesta en vivo -40 personas
en escena-, un despliegue escenográfico imponente, una pantalla gigante y el agua como elemento sorpresa.
Ya han sido contratados para encabezar el elenco el actor Nico
Vázquez, quien tiene realizada una larga carrera en la televisión
(Mis amigos de siempre, Solamente vos, Casi ángeles, Son amores, etc.). El actor se pondrá en la piel de un poeta tanguero
que reivindicará el amor homosexual. Comparte la cartelera
con la bailarina Melina Sol Greco -que ya viene actuando en
los espectáculos Stravaganza-, profesora de danza clásica y
contemporánea; volcada al tango se presentó con exhibiciones
en varias milongas porteñas, donde tuvo como parejas a Junior
Cervila, Lucas Molina Gazcón, Fernando Andrés Rodríguez y
Cristian Bravo.
Marzo a Junio 2014
B.A.TANGO 35
Buenos Aires Tango
L
Hace 10 años
as ilustraciones de tapa
de las ediciones de esos
meses pertenecían a los
artistas plásticos Juan Carlos
Liberti, René Abate, Sigfredo
Pastor y Chilo Tulissi.
Los artículos destacados
fueron: El Tango nació en
Inglaterra (Tito Palumbo) y El
Tango ¿sana? (Jéssica Grumberg). Carlos Medrano publicaba su primera colaboración,
Planeta Tango, caminatas espaciales antitiempo.
En las Galerías de Fotos
aparecían, entre otros, Celia Blanco, Carlos
Rossi, Mimí L. de Santapá, Carlos Rivarola y
Héctor “Negro” Firpo, Stella Díaz y Las Del
Abasto, Emilio López, Chiri Ortuño y Rubén
Harymbat, Irma y Rodolfo Ruiz, Juan Vattuone
con Carlos Avilano y Horacio Avilano, Eladia
Blázquez, Elena Sakowski de López, Judy Margolis, Tati Caviglia, Delia Luisa Nasra y Luis
Filipini, Néstor Valle, Nélida de Villarrazo y
“Bachi” Valle, Lydia Elman de Pugliese, Leandro Porcellini, Rita Porto de Ruggiero y Mariano Ávalo, Luis Trapasso, Adriana Jablonskis,
Adriana Torrez, Myriam Garello, Mariana
Avena, Chavela Vargas y Omar Viola, Silvia
Ceriani y Tete Rusconi, Néstor Marconi, Bea
Diez, Roberto Firpo y Lila Oliva, Gloria Gatti.
Entrevistamos a Silvina Scalisi y Mariano
Galeano maestros de baile y directores de un
espectáculo de tango. También, a Cristina “Cris
Chimbela” Martínez quien le enseñaba a bailar
a Miguel Gaspareti, ciego y sordomudo.
Publicamos los cuentos de Laura Nicastro
La elegida, de Daniel Suárez ¡Basta de milongueros!, y de Juan Lencina Rubí.
Escuchamos los discos Tango por Tres
con los cantantes Alberto Morales, Virginia
36 B.A.TANGO
Buenos Aires Tango Marzo a Junio 2014
Verónica y Omar Escudero;
Marisa Otero (cantante) en
Padre Tango; Luis Migliori y
su Orquesta Típica; Fernando
Rezk (bandoneón), Marcela
Pedretti (piano) y artistas invitados en Musamistonga; y un
demo Tango Crash.
En materia de espectáculos mencionamos ¡Volá, vení,
volá!, una autobiografía de
Horacio Ferrer, con Héctor
Gióvine, Javier Di Ciriaco,
Andrea García y Ana María
Hlousek, con dirección de
Héctor Gióvine, en el Teatro
de la Comedia; Argentina todo un show, una
revista musical con Nito Artaza, Valeria Lynch,
Raúl Lavié, Juan Carlos Copes, Johana Copes,
Freddy Villarreal y María Eugenia Ritó, la
dirección coreográfica de Eleonora Cassano y
dirección general de Nito Artaza, en el Teatro
Broadway; Animal Porteño con Marcela Paoli,
Julio Zurita y Pablo Jaite, dirigidos por Marcela
Paoli, en el Teatro del Nudo.
Los nuevos bailes fueron, entre otros, los
de Héctor Valle y Alberto “Bachi” Valle los
jueves en el Salón Señorial y los viernes en
Villa Malcolm; Alejandro Peña en el Salón
Reduci, Guillermo Scrinzi en una galería de
Caballito; Irene Cataxinos y Raúl Da Silva en
Altos de Ilusión; Adriana Torrez en el Club
Ciudad de Buenos Aires, que luego continuó
Julio Medrano; Adriana Jablonskis en el Club
La Independencia; Marcela Alam y Román
Alberio en el Club Inca; Silvia Dopacio en la
Asociación Genovesa Argentina – Carboneros
Unidos; Tito Gómez, Leandro Gómez y Javier
Guiraldi en el Club Platense; Norma Bagnuolo
en Afiche Pub; Irene Cataxinos en Sin Rumbo;
Paula Ferrío, Victoria De Paolo y Sol Aguilar
en el Club La Independencia; Alicia Sabatino y
Antonio Barone en Delu; Ricardo Suárez, Luis
Trapasso y Cito Pareja en Mi Club.
Lie to me, I like it
FRASES LINDAS
QUE DICEN LOS
HOMBRES EN LA
MILONGA
“Solamente te falta la corona y ya sos una reina”.
“You only need the crown
and you’re a queen.”
(María Teresa Carrillo)
“Bailar con vos es como
bailar con un ángel entre las
nubes”.
“Dancing with you is like
dancing with an angel in the
clouds.”
(Jorge Ferrazzi)
“Desde lejos he venido galopando en un mancarrón, solo
para pedirte que bailemos
este milongón”.
“I’ve come from far away
riding a horse, only to ask
you to dance this milongón”.
(Alicia “Alis” Ramos)
“Tus movimientos son muy
seductores”.
“Your moves are very seductive.”
(Paola Ligorassa)
- He gets so possessed with tango that he fell from his chair
several times.
Marzo a Junio 2014
B.A.TANGO 37
Buenos Aires Tango
Cumpleaños / Birthdays
MARZO/MARCH
TOMÁS BARNA (87). El 11. Poeta,
crítico, ensayista, dramaturgo, conferencista y guionista de cine/Poet,
critic, essayist, playwright, lecturer
and scriptwriter.
ALFREDO SADI (76). El 14. Cantor,
guitarrista y compositor/Singer,
guitarist and composer.
GABI SODA (n. Gabriel Sodini). El
15. Bailarín, organizador de bailes
y empresario/Dancer, organizer of
milongas and entrepreneur.
JESICA MARCHETTI. El 17. Bailarina y enseñante/Dancer and teacher.
DANIEL JOSÉ BINELLI (68). El
20. Bandoneonista, compositor,
arreglador y director/Bandonionist,
composer, arranger and conductor.
RODOLFO MEDEROS (74). El 25.
Bandoneonista,
compositor,
arreglador y director/Bandonionist,
JUAN LENCINA. El 25. Milonguero,
enseñante y organizador de bailes/
Milonguero, teacher and organizer
of milongas.
SILVIO WILLIAMS SOLDÁN (79).
El 26. Locutor, autor, presentador y
animador/Radio and TV entertainer
and author.
HÉCTOR NEGRO (n. Héctor Varela)
(80). El 27. Poeta y autor/Poet
and author.
MARÍA
BALBUENA
“NINA”. El 28. Bailarina
y profesora/Dancer and
teacher.
“EL GALLEGO MANOLO”
(n. Manuel María Salvador) (82).
El 29. Bailarín y profesor/Dancer
and teacher.
JORGE SPESSOT (39). El 30. Bandoneonista/Bandonionist.
ROBERTO BASCOY (64). El 31. Cantante/Singer.
ABRIL/APRIL
EDUARDO PÉREZ (44). El 1º. Bailarín, enseñante y organizador de los
bailes La Baldosa/Dancer, teacher
and organizer of the milonga La
Baldosa (The Tile).
MIGUEL ÁNGEL BARCOS (74). El 2.
Pianista y compositor/Pianist and
composer.
ARCE, EDUARDO. El 3. Bailarín y
38 B.A.TANGO
enseñante/Dancer and teacher.
ARIEL ALBERTO RODRÍGUEZ (42).
El 3. Pianista/Pianist.
HÉCTOR MORANO (80). El 5. Cantor/Singer.
CÉSAR ROJAS (41). El 7. Bailarín y
enseñante/Dancer and teacher.
ANA MARÍA DI NARDO. El 7. Bailarina y fisioterapeuta/Dancer and
physiotherapist.
JUAN PABLO NAVARRO (43). El 9.
Contrabajista/Contrabassist.
JUAN CARLOS MIÑO. El 10. Bailarín y enseñante/Dancer and teacher.
JANIS KENYON. El 11. Bailarina y
escritora/Dancer and writer.
ENRIQUE LANNOO “QUIQUE”
(74). El 13. Cellista, compositor
y director/Cellist, composer and
conductor.
FLORENCIO EZEQUIEL “LITO”
PEREYRA. El 14. Locutor/Entertainer.
MARTA FAMÁ. El 16. Bailarina, enseñante y organizadora de
bailes/Dancer, teacher and milonga
organizer.
SUSANA VARGAS. El 17. Bailarina y
musicalizadora/Dancer and DJ.
JORGE DANIEL RUTMAN (69).
El 17. Pianista, bandoneonista y
director/Pianist, bandonionist and
conductor.
CANÉ, SUSI (n. Mirta Susana
Amalfi). El 19. Cantante e instructora/Singer and teacher.
EDUARDO CHORÉN (74). El 20.
Bailarín y musicalizador/Dancer
and DJ.
FERNANDO SOLER (n. Carlos Alberto
Taccari) (56). El 21. Cantor y empresario/Singer and entrepreneur.
LINA AVELLANEDA (n. Liliana
Pane). El 23. Cantante y autora/
Singer and lyricist.
ROBERTO AYALA (n. Agustín Félix
Gutiérrez) (71). El 24. Cantor/Singer.
OSCAR HÉCTOR MALAGRINO. El 24. Organizador de bailes y
espectáculos. Productor
radial/Milonga and show
organizer. Radio program
producer.
CRISTIAN ZÁRATE (39). El 26.
Pianista y arreglador/Pianist and
arranger.
“A PURO TANGO” SALÓN CANNING
(14). El 29. El baile de los sábados que organizan Darío Rodríguez/
Saturday milonga in Salón Canning
organized by Darío Rodríguez.
MARIO ORLANDO (55). El 29. Musicalizador/DJ.
CLAUDIO BERGÉ (n. Horacio Palacios). El 29. Cantor y productor
radial/Singer and radio programs
producer.
SEXTETO MAYOR (40). El 29. Creado
por José Libertella y Luis Stazo/
Created by José Libertella and Luis
Stazo.
PABLO ANTONIO AGRI (46). El 29.
Violinista/Violinist.
ELENA SAKOWSKI DE LÓPEZ. El 30.
Bailarina y organizadora de bailes/
Dancer and milonga organizer.
MAYO/MAY
ALEJANDRO SAVERIO PREVIGNANO (74). El 2. Bandoneonista/
Bandonionist.
LISANDRO ADROVER (69). El
arreglador y director/Bandonionist, composer, arranger and conductor.
JUAN “NITO” GARCÍA. El 5. Bailarín y enseñante/Dancer and teacher.
AURORA LUBIZ. El 5.
Bailarina,
profesora
y coreógrafa/Dancer,
teacher and choreographer.
ROBERTO
DANIEL
ÁLVAREZ (74). El 7. Bandoneonista, compositor, arreglador y
director/Bandonionist, composer,
arranger and conductor.
“EL TANGO Y SUS ESTRELLAS”
(57). El 8. Decano de los programas
radiales; creado y dirigido por
Jorge Serrano “Serranito”/Doyen of
radio programs; created by Jorge
Serrano “Serranito”.
“FLOREAL MILONGA” (3). El 8.
Milonga que organizan los domingos Marcelo Lavergata y Lucila Bardach/Milonga organized on Sundays
by Marcelo Lavergata and Lucila
Bardach.
RAÚL CARDÁ (74). El 10. Cantor/
Singer.
SUZUKI AVELLANEDA. El 11.
Bailarina y enseñante/Dancer and
teacher.
CARLOS COSTES (58). El 11.
Bailarín y enseñante/Dancer and
teacher.
MARIO ALLAN “ALITO” CANDAMIL
(85). El 13. Milonguero
OSVALDO RAMOS (81). El 13. Cantor/Singer.
RÁUL “TITO” SADI (69). El 15.
Cantor, compositor, autor, guitarrista y arreglador/Singer, composer, lyricist and arranger.
ADRIANA TORREZ. El 15. Organizadora de los bailes “Círculo Trovador” /Organizer of milongas “Círculo
Trovador”.
ESTEBAN RIERA (34). El 16. Cantor/Singer.
CELIA BLANCO. El 17. Bailarina,
profesora, coreógrafa y organizadora de milongas/Dancer, teacher,
choreographer and milonga organizer.
GIORGIA MARCHIORI DE GUARDIOLA. El. 17. Actriz, mimo,
bailarina, enseñante, doctora en
Filosofía. Codirectora de la Cía.
TangoTeatro/Actress, mime, dancer,
teacher, Ph. D., TangoTeatro Company coproducer.
JUAN ESTEBAN CUACCI (41). El
19. Pianista/Pianist.
DOMINGOS “RITMOS, TANGO
Y COLOR” (8). El 20. Baile que
organizan Horacio Lenardón y Elvira
Roldán en Tía Lola, Lanús/Milonga
organized by Horacio Lenardón and
Elvira Roldán at Tía Lola, in Lanús.
DANIEL JOSÉ BINELLI (68). El
20. Bandoneonista, compositor y
director/Bandonionist, composer
and arranger.
HUGO LOMAGNO. El 21. DJ y
organizador de milongas/DJ and
milonga organizer.
CARLOS GALVÁN (74). El 22. Bandoneonista y director/Bandonionist
and conductor.
MARGARITA GUILLÉ. El 25.
Milonguera.
FRANCISCO LLANOS (n. Francisco
Goggeano) (61). El 25. Cantor, pianista, compositor y autor/Singer,
pianist, composer and lyricist.
NANCY ADRIANA LOUZÁN. El 29.
Bailarina, enseñante y actriz/Danc-
er, teacher and actress.
PABLO INZA. El 30. Bailarín y profesor/Dancer and teacher.
JUAN CARLOS COPES
(83). El 31. Bailarín,
coreógrafo,
director
de escena y maestro/
Dancer, choreographer,
producer and Maestro.
MARTHA ANTÓN. El 31. Bailarina y
profesora/Dancer and teacher.
JUNIO/JUNE
RAÚL ALBERTO VOLINIER (72). El
2. Pianista/Pianist.
ARIADNA NAVEIRA (25). El 2.
Bailarina y enseñante/Dancer and
teacher.
HORACIO ARTURO FERRER (81).
El 3. Poeta, ensayista y productor/
Poet, essayist and producer.
SILVIO ACOSTA (76). El 4. Contrabajista/Contrabassist.
RUBÉN DARÍO LÓPEZ. El 7. Organizador de milongas y DJ/Milonga
organizer and DJ.
PATRICIO COTELLA (42). El 10.
Contrabajista y compositor/Contrabassist and composer.
“CACHO” CASTAÑA (n.
Humberto Vicente Castagna) (72). El 11. Cantor, actor, pianista, guitarrista, compositor y
autor/Singer, actor, pianist, guitarist, composer and lyricist.
MAURICIO MARCELLI (73). El 12.
Violinista, compositor, arreglador y
director/Violinist, composer, arranger and conductor.
LUIS MIGLIORI (72). El 14. Bandoneonista, director y representante/
Bandonionist, conductor and artists
representative.
JUEVES MUSICALES (9). El 14.
Baile que organizan Horacio
Lenardón y Elvira Roldán en Tía
Lola, Lanús/Milonga organized by
Horacio Lenardón and Elvira Roldán
at Tía Lola, in Lanús.
HORACIO ADOLFO SALGÁN (98). El
15. Pianista, compositor, arreglador y director/Pianist, composer,
arranger and conductor.
NÉSTOR EUDE MARCONI (72). El
arreglador y director/ Bandonionist,
MARÍA CARMEN GRAÑA. El 16.
Cantante/Singer.
ALEJANDRO NORBERTO FILARDI
(86). El 18. Bailarín y enseñante/
Dancer and teacher.
TANGO QUEER (11). El 20. Milonga amigable que organiza los
martes Mariana Docampo en el
Club Buenos Aires/Gay-friendly
milonga organized on Tuesdays by
Mariana Docampo at Club Buenos
Aires.
LUIS ANTONIO STAZO (84). El
arreglador, director y productor/
Bandonionist, composer, arranger,
conductor and producer.
JORGE FIRPO. El 22. Bailarín,
coreógrafo y profesor/Dancer, choreographer and teacher.
GUILLERMO ALIO (64). El 25. Pintor y bailarín/Painter and dancer.
OMAR VIOLA (60). El 26. Actor,
mimo, autor y organizador de los
bailes Parakultural/Actor, mime,
author and organizer of the Parakultural milongas.
ACADEMIA NACIONAL DEL TANGO
(24). El 28. Institución oficial/
Official institution.
LEONARDO MARCONI (41). El 28.
Pianista/Pianist.
LA MILONGUITA (11). El 29. Baile
que organiza Graciela López/Milonga organized by Graciela López.
JULIO/JULY
ATILIO ANTONIO STAMPONE
(88). El 1º. Pianista, compositor,
arreglador y director/Pianist, composer, arranger and conductor.
GABRIEL SORIA (42). El 2. Coleccionista, historiador y periodista/
Collector, historian and journalist.
DIEGO ALVARO. El 9. Actor, bailarín, profesor y organizador de los
bailes “El Abrazo Tango Club/Actor,
dancer, teacher and organizer of the
milongas “El Abrazo Tango Club”.
MARINA OLIVERA. El 9. Bailarina/
Dancer.
CLUB BOHEMIOS (76). El 9. Donde
funciona los sábados la milonga
“Alma de Bohemio”/Where the
milonga “Bohemian’s Soul” takes
place on Saturdays.
Marzo a Junio 2014
B.A.TANGO 39
Buenos Aires Tango
Mensajes - Cartas - Facebook y Correo-e
EDUARDO MICHELI, escribió, “Estimado Sr. Palumbo: Recibí sus envíos, como
siempre muy interesantes
y completos para nuestro
ambiente tanguero.
Asisto a las milongas desde
el año 30, siendo niño y
acompañando a una hermana
que ganó el Campeonato de
Tango del año 1937 en pareja
con Juan Sarquis (el Turquito
de Villa Crespo) en el Príncipe George Hall y que posteriormente en el año 1940
ganó con el mismo compañero el concurso de vals y
milonga en el Luna Park.
Pude ver bailar al Cachafaz,
a los Méndez, a Tarila, a
Petróleo y muchos más.
Será por eso que me satisface
plenamente toda su información, en especial la página
de los recuerdos, por cuanto
me permite evocar aquellos
tiempos de bailarines que ya
no están.
Un cordial saludo Tanguero
deseándole Feliz Año Nuevo,
esperando continuar comunicándonos”.
CARLOS E. GIMENO, titular
de El Folklore Argentino:
“Excelente trabajo, Tito,
ojalá pudiera llegar con
esa calidad en lo relativo al
resto del folklore argentino.
¡Felicitaciones! Y gracias por
todo este valioso material
que compartes con nosotros.
Abrazo folklórico”.
CLYDE TRUJILLO y MIGUEL
HUANCÓ, de Córdoba, “Querido Tito. Es un placer saludarte
por estas fiestas de Navidad y
Año Nuevo. Te agradecemos
la revista que cada día disfrutamos más y distribuimos
a nuestros alumnos. Hubo
durante el año artículos muy
interesantes que aprovechamos
para comentar con la gente que
tenemos en La Maleva de Córdoba. Abrazos”.
Nos dejaron y los recordamos
Nelly Omar (n. Nilda
Elvira Vattuone). El 20 de
diciembre de 2013 a los 102
años. Cantante, compositora y actriz. Desde muy
niña manifestó su vocación
por el canto. A los 13 años,
a poco de llegar de Guaminí (prov. de Buenos
Aires) su ciudad natal, actuó en Buenos Aires.
En la década del 30 formó dúo con su hermana Nélida con quien hacía canciones nativas,
mientras que los tangos los cantaba ella como
solista. Se la llamó “La Gardel con polleras”.
Participó durante años en programas radiales
y realizó giras por el interior. Fue actriz en las
películas Canto de amor (1940) y Melodías de
América (1942), y participó en el documental
Café de los Maestros (2008). Tuvo un sostenido
y conflictivo romance con Homero Manzi,
hasta su muerte en 1951. Después del golpe de
estado contra el gobierno del general Perón en
1955 (Revolución Libertadora) fue proscripta
de los medios radiales y televisivos por su
40 B.A.TANGO
adhesión a la causa peronista; se exilió a Uruguay y, luego, a Venezuela. Volvió a actuar en
la década siguiente, y realizó presentaciones en
escenarios y en televisión hasta muy recientemente –dio recitales en el Luna Park en 2009 y
en 2011–. Le concedieron muchas distinciones
y fue declarada Ciudadana Ilustre de la Ciudad
de Buenos Aires en 1996.
“Pocho” Palmer. El 28 de
febrero de 2014. Bandoneonista. Acompañó a cantantes
como Alberto Podestá, Juan
Carlos Godoy, Roberto Guiet,
Juan Darthés, Lidia Borda,
María Graña, Alicia Pometti,
María José Mentana, Carolina Winograd y
otros. Fue director musical de la tanguería “La
Casa de Aníbal Troilo”, actuó en la compañía
Tango x Dos de Miguel Ángel Zotto. Dirigió
conjuntos, integró las orquestas de Omar Valente, Color Tango -dirigida por Amílcar Tolosa- y,
en los últimos años, la de Fabián Bertero.
JUAN CARLOS COPES,
Maestro de Tango, escribió:
“Gracias Tito, hermosas
fotos! y estuve viendo tu
revista y me gustó mucho el
formato y en que forma la
encaraste, cambiaste el perfil,
el formato y es cómoda con
una gran info, es como una
guía. Un abrazo”.
CARLOS STUPAK, desde
Alemania: “Querido
Tito.....!!!!! viviendo a más de
10.000 km de distancia recibir información tanguera y
de la calidad que vos ofreces
es un placer inmenso... Aquí,
en Alemania, soy uno de los
que reparte tu B.A TANGO –
Buenos Aires Tango entre
tangueros conocidos. Muchas
gracias. Un abrazo”.
OSVALDO VÁZQUEZ, “Tito...
llega a conmover tanto servicio, tanta cordialidad....más
que gracias mi reconocimiento a su laburo, infatigable que
me imagino hace con mucho
amor sino no habría estos
Hijos del Trabajo. Templo masónico en San Antonio 814,
barrio de Barracas/Sons of Labor. Masonic shrine at 814 San Antonio St.,
Barracas neighborhood (Foto B.A.Tango)
resultados....salud y suerte”.
JOSÉ MA, “Estimado Tito:
Recibí con el placer de siempre el envío del excelente su
material. Muy agradecido y
lo aliento a seguir bregando
por esta pasión tanguera que
nos convoca. Abrazo!”
EUGENIA VÁZQUEZ, envió
un mail: “Respetado Tito.!!
Admiro su trabajo y compromiso con el tango y también
admiro y mucho su compromiso social y total apoyo a la
familia de Alan Tapia! Envío
mi afectuoso saludo y hasta el
próximo Boletín!!
Nacimiento
Metimos la pata
En Cumpleaños de la edición
Nº 216, pág. 39, aclaramos
que Luis Guevara cumplió 78
años.
MATEO DI LERNIA ERMOCIDA. El 17 de marzo de 2014.
Hijo de Pablo Di Lernia y Lorena Ermocida. En Sanatorio
de la Trinidad Palermo. Peso al nacer, 3,950 kg. ¡Congratulaciones!
Errata
Birth
In issue Nº 216, page 39,
“Birthdays”, we clarify that
Luis Guevara became 78
years old.
MATEO DI LERNIA ERMOCIDA. On March 17, 2014. Son of
Pablo Di Lernia and Lorena Ermocida. At the De la Trinidad
Sanatorium. His birth weight was 8 lb 11.33 oz. Congratulations!
Marzo a Junio 2014
B.A.TANGO 41
Buenos Aires Tango
Galería de Fotos / Photo Gallery
Inauguración de/Opening of Soho Tango en/at Salón Canning
Nilda Boragno y Alberto Olguin
Vista del salón/View of the dance hall
Cumpleaños de/Birthday Party for Norma Fonseca,
organizadora de/organizer of La Milonga de Norma
1º Aniversario de La Milonga de Elsita,
que organiza Elsa Amodio
Norma Fonseca (x)
Norma Fonseca (x)
Comisión directiva,
organizadores y
colaboradores en/Board
of Directors, organizers
and assistants at Saraza
Tango
Más fotos en/More photographs on
42 B.A.TANGO
Buenos Aires Tango
Marzo a Junio 2014
/Tito Palumbo - Fotos - Álbumes
Marzo a Junio 2014
B.A.TANGO 43
Buenos Aires Tango
44 B.A.TANGO
Marzo a Junio 2014
B.A.TANGO 45
Buenos Aires Tango
Nuevos Bailes y Nuevos Organizadores / New Milongas and New Organizers
ROBERTO MARCOBELLI y
LILIANA NAPOLI trasladaron
su milonga “Lilian” al Bar
del Glorias. Los próximos
bailes se realizarán en días
domingo, de acuerdo al
siguiente programa: Mayo 11
y 25 – Junio 8, 22 y 29 –
Julio 13 y 27. De 20 a 1 hs.,
en Andalgalá 1982 (alt. Av.
Juan B. Alberdi 6900). Informes y reservas al tel. 15-45
50-30 25.
ROBERTO MARCOBELLI and
LILIANA NAPOLI moved
their milonga “Lilian” to
“Bar del Glorias”. The next
milongas are scheduled for
the following Sundays: May
11 and 25, June 8, 22 and
29, and July 13 and 27; 8
p.m. - 1 a.m. The address:
1982 Andalgalá St. (@ 6900
Juan B. Alberdi Av.) For
information and reservations
phone 15-45 50-30 25.
EUGENIA MARTÍNEZ y
GASTÓN RODRÍGUEZ BARABASCH, trasladaron su baile
“Soho Tango” al tradicional
Salón Canning. Los jueves de
22,30 a 4 hs., en la Av. Scalabrini Ortiz 1331. Informes
y reservas a los tels. 15-36
88-13 88/15-58 20-70 17.
EUGENIA MARTÍNEZ and
GASTÓN RODRÍGUEZ
BARABASCH, moved their
milonga “Soho Tango” to the
traditional Salón Canning.
On Thursdays, 10:30 p.m. –
4:00 a.m. at 1331 Scalabrini
Ortiz Av. For information and
46 B.A.TANGO
reservations phone 15-36
88-13 88/15-58 20-70 17.
JUAN STEFANIDES y MARIELA CHAVES pasaron su
“Milonga del Club Arquitectura” al segundo sábado de
cada mes. De 20,30 a 2,30
hs. en la Av. Francisco Beiró
2116. Informes y reservas al
tel. 15-66 63- 41 70.
JUAN STEFANIDES and
MARIELA CHAVES organize their “Milonga del Club
Arquitectura” on the second
Saturday of the month.
8:30 p.m. – 2:30 a.m., at
2116 Francisco Beiró Av. For
phone 15-66 63- 41 70.
ANA BOCUTTI y DANIEL
BLANCO pasaron su baile
“Yira Yira Milonga” de los
viernes, de 23 a 4 hs., al
Centro Región Leonesa,
Humberto Iº 1462. Informes
59-67 10/15-50 21-46 85.
ANA BOCUTTI and DANIEL
BLANCO moved their Friday
“Yira Yira Milonga”, 11:30
p.m. - 4 a.m., at Centro
Región Leonesa, 1462 Humberto Iº St. For information
and reservations phone
15-33 59-67 10/15-50 21-46
85.
LOLA VILAR inauguró su
milonga “Alo Lola”. Los
jueves de 21 a 2,30 hs. en
el moderno salón Obelisco
Tango, Av. Entre Ríos 1056.
Informes y reservas a los
tels. 46 13-71 80/15-63
60-19 84.
LOLA VILAR inaugurated
her milonga “Alo Lola”. On
Thursdays, 9 p.m. – 2:30
a.m., at the modern Obelisco
Tango dance hall, 1056 Entre
Ríos Av. For information and
reservations phone 46 13-71
80/15-63 60-19 84.
JORGE DI CAPUA y DANIEL
GALIZIA, agregaron un
nuevo día a sus bailes en el
histórico Marabú. “Maracaibo”, los jueves, con muchos
tangos, valses y milongas,
de 21 a 2 hs. En Maipú 359.
Informes y reservas al tel. 43
93-01 07.
JORGE DI CAPUA and
DANIEL GALIZIA added a
new milonga “Maracaibo” at
the historical Marabú dance
hall. On Thursdays, with a
lot of tangos, milongas and
valses, 9 p.m. – 2 a.m., at
359 Maipú St. For information and reservations phone
43 93-01 07.
MARCELO LAVERGATA y
LUCILA BARDACH, organizan
“La Milonga del Morán” el
tercer sábado de cada mes.
De 21,30 a 3 hs. en el Club
Pedro Morán, Pedro Morán
tel. 15-59 62-31 95.
MARCELO LAVERGATA and
LUCILA BARDACH organize
“La Milonga del Morán” on the
third Saturday of the month.
9:30 p.m. - 3 a.m., at Club
Pedro Morán, 2446 Pedro
Morán St. For information
and reservations phone 15-59
62-31 95.
abrieron su baile “Royal
Pigall”. Los miércoles de
22,30 a 3,30 hs., en El Beso,
Riobamba 416. Informes y
reservas a los tels. 15-54
59-31 05/15-63 54-12 68.
LUCÍA RINALDI, DEVIN
NG y GASTÓN RUIZ vienen
organizando su “Milonga Sin
Gomina” en el salón ubicado
en Chile 1351. Los viernes
de 21,30 a 2 hs. Informes
63-47 79/15-58 88-68 29.
JUAN MANUEL RIERA and
ANDRÉS LAZA MORENO
organize their milonga “Royal
Pigall” at El Beso dance hall.
Wednesdays, 10:30 p.m. –
3:30 a.m., 416 Riobamba St.
For information and reservations phone 15-54 59-31
05/15-63 54-12 68.
LUCÍA RINALDI, DEVIN NG
and GASTÓN RUIZ have been
organizing their “Milonga Sin
Gomina”. Fridays, 9:30 p.m.
– 2 a.m. at the dance hall at
1351 Chile St. For information
and reservations phone 15-68
63-47 79/15-58 88-68 29.
LORENA BOUZAS “LA CHIQUI”, inició su baile “Yunta
de Oro”. Los viernes en el
salón de la Asociación Nazionale Italiana (La Nacional),
de 21 a 4 hs., en Alsina
tel. 15-38 76-69 57.
LORENA BOUZAS “LA
CHIQUI”, inaugurated her
milonga “Yunta de Oro”. Fridays at Asociación Nazionale
Italiana (La Nacional) dance
hall, 9 p.m. – 4 a.m., 1465
Alsina St. For information
and reservations phone
15-38 76-69 57.
JUAN MANUEL RIERA y
ANDRÉS LAZA MORENO
FLORENCIA GARESIO y
SEBASTIÁN JULIEN iniciaron
su propuesta bailable “La
Milonga del Bichito”. Los
martes de 22 a 2 hs., en el
Club La Independencia, Av.
Independencia 572. Informes y reservas al tel. 15-61
77-58 13.
FLORENCIA GARESIO and
SEBASTIÁN JULIEN inaugurated their “La Milonga del
Bichito”. Tuesdays, 10 p.m.
– 2 a.m., at Club La Independencia, 572 Independencia Av. For information and
reservations phone 15-61
77-58 13.
ORLANDO SECO y EDUARDO
FLORES organizan “Mala
Junta”. Los sábados de 22 a
4 hs., en Dionisio Resto Bar,
B. Rivadavia 164, Moreno
(Gran Buenos Aires – Oeste).
Informes y reservas a los
tels. 15-30 88-71 34/15-59
97-84 39.
ORLANDO SECO and EDUARDO FLORES organize “Mala
Junta”. Saturdays, 10 p.m.
– 4 a.m., at Dionisio Resto
Bar, 164 B. Rivadavia St,
Moreno (Greater Buenos
Aires – West.) For information and reservations phone
15-30 88-71 34/15-59 97-84
39.
EDUARDO FLORES abrió su
baile “Milonga Real”. Los
domingos de 20 a 1 hs., en el
Salón Zinnia, Camino Real 144,
Merlo Sur (Gran Buenos Aires –
Oeste). Informes y reservas al
tel. 15-30 88-71 34.
EDUARDO FLORES inaugurated his “Milonga Real”.
Sundays, 8 p.m. – 1 a.m.,
at Salón Zinnia, 144 Camino
Real St, Merlo South (Greater
Buenos Aires – West.) For
phone 15-30 88-71 34.
MARTÍN AGUIRRE trasladará
su “Milonga Bohemia” a la
Sociedad de Fomento Villa
Riachuelo. Desde el 13 de
julio, los domingos de 18
a 22 hs., en Guaminí 5173.
Informes y reservas al tel.
15-69 91-76 43.
MARTÍN AGUIRRE will move
his “Milonga Bohemia” to
the Sociedad de Fomento
Villa Riachuelo. Sundays, 6
p.m. – 10 p.m., starting on
July 13, at 5173 Guaminí St.
For information and reservations phone 15-69 91-76 43.
Marzo a Junio 2014
B.A.TANGO 47
Buenos Aires Tango
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AV. 9 DE
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JU
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AV. ENTRE RÍOS
AV. V. SARSFIELD
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Marzo a Junio 2014
B.A.TANGO 49
Buenos Aires Tango
Editor’s Letter
SALONES BAILABLES
DANCE HALLS
San José 224, p. 1º – 15-4428-0100
Mar/Tue y Juev/Thu a las 16 hs.
CENTRO SOCIAL
CHICAGO
Lisandro de la Torre 2319 – 4687-1693
Vier/Fri y Sáb/Sat 22 hs. Dom/Sun 13 hs.
CÍRCULO
TROVADOR
Av. del Libertador 1031, V. López –
4838-0546
Vier/Fri y Sáb/Sat a las 22 hs. Dom/Sun a
las 20,30 hs.
EL RODRÍGUEZ
Manuel A. Rodríguez 1191– 3526-4191/
15-5645-8027
Miércoles/Wednesdays 21 hs.
PARAKULTURAL
EN
SALÓN CANNING
Av. Scalabrini Ortiz 1331 – 15-5738-3850
Lun/Mon, Mar/Tue y Vier/Fri a las 23 hs.
Humberto Iº 1462 – 15-3359-6710/155021-4685
Show con músicos y/o bailarines.
Viernes/Friday 23 hs.
Porteño Y
Bailarín
Riobamba 345 – 4866-1656/ 15-5153-8626
Mar/Tue y Dom/Sun a las 22,30 hs.
TA N G O
QUEER
Ramón L. Falcón 2750 – 4601-7988 /
4574-1593
18/04 –Bailan: Elena Demo y Lucas
Gauto;
25/04 –Despedida y bailan Stela Báez y
Ernesto Balmaceda;
02/05 –Bailan: María Ibarra y Francesco
Scoppio;
09/05 –Festejo de cumpleaños de Aurora
Lubiz y Nito García.
Viernes/Fridays a las 22,30 hs.
LA MILONGA
DEL MORÁN
Pedro Morán 2446 – (tel.) 15-5962-3195
19/04 – Toca: Carlos Galván con Carlos
Rossi (cantor). Bailan: Fernando Carrasco y Jimena Hoeffner;
17/05 – Tocan: Los Herederos del Compás con Pablo y Osvaldo Ramos
(cantores). Bailan: Milena Plebs
y Demián García;
19/07 – Tocan: Los Reyes del Tango con
Néstor Rolan (cantor). Bailan:
Rauli Choque y Julieta Questa.
3º sábado/Saturday del mes, a las 21,30 hs.
Perú 571 – 15-3252-6894
Martes/Tuesday a las 22 hs.
CAFÉS CONCERT
RESTAURANTES
Y PEÑAS
BETHANIA
Av. Corrientes 3500 – 4862-0888/
4863-0404
CLAUDIO DI PALMA (cantor) presenta temas
de su 2º CD. Guitarras: ALBERTO BECERRA y
LEANDRO DE ROSA. Cantor invitado: OSCAR
ROJAS (folklore). Bailan: ANA y ALBERTO
TONON. Cena-Show.
Sábados/Saturdays 17 de mayo/May, 21
de junio/June, 19 de julio/July y 23 de
agosto/August a las 21 hs.
LA AURORA TANGO
Av. Corrientes 3600 – 4865-2873/2874
RICARDO MARÍN, RODOLFO LEMOS, GLORIA
MONTES (cantantes) y más artistas. Bailan:
MÓNICA y NÉSTOR CASTILLO. QUINTETO ABRIL
TANGO. Producción: HORACIO BENEGAS.
Cena-Show. Sáb/Sat de mayo/May a
las 22 hs.
Más Salones Bailables en pág. 76 / More Dance Halls on page 76
50 B.A.TANGO
LA BIBLIOTECA CAFÉ
Marcelo T. de Alvear 1155 – 48110673/4815-8156
GUSTAVO HORTIGÜELA (voz). Músicos: Adrián
Lacruz y Martín Heler (guitarras) y Betiana
Posetti (piano).
Juev/Thu 8 de mayo/May a las 21 hs. Der.
espect. $ 60; consum. mín. $ 60; der. espect.
y cena $ 180.
LAURA MANZINI (voz) presenta su CD “Mujer
de Tango”. Leandro Becker (piano).
Juev/Thu 14 de mayo/May a las 21 hs. Der.
y cena $ 200.
FLORENCIA GARCÍA y GALO GARCÍA (cantantes). Tango y folklore.
Sáb/Sat 31 de mayo/May a las 21 hs. Der.
y cena $ 230.
Iriarte 2290, Barracas –
4303-3393
MIÉRCOLES/Wednesday de 20 a 2 hs. OTRA
MILONGA. Show de tango.
JUEVES/Thursday de 20 a 2 hs. Milonga
RUMBO AL SUR. Show de tango.
VIERNES/Friday de 20 a 4 hs. PEÑA DE
TANGO DE ARRABAL. Micrófono y Pista de
Baile abiertos. 21,30 hs. PEÑA LOS AMIGOS
DEL CHINO. Abel Frías (guitarra). Cantan;
Inés Arce “La Calandria”, Julio César Fernán,
y más amigos del Chino de Pompeya. 23 hs.
PEÑA con Micrófono y Pista de Baile abiertos.
Leandro Nikitoff (guitarra). Cantan: Omar
Casas, Mirta Reynal “La Chavela”, Christian
Gaume y artistas invitados. Presentaciones:
Christian Gaume. Tandas Milongueras.
SÁBADOS/Saturday de 20,30 a 4 hs. MILONGUITAS EMPASTADAS con discos de pasta de
colección. 22 hs. Show de tango.
Entrada libre. Músicos a la gorra.
Cocina de Bodegón abierta a partir de las
20 horas.
Organización General: Doris Bennan.
BIEN BOHEMIO
Sánchez de Loria 745 – 4957-1895
Ciclo “Impasse”. WALTER HIDALGO (bandoneón y voz), ANÍBAL CORNIGLIO (guitarra)
y JERÓNIMO PEÑA (percusión). Artistas
invitados.
Primero sábado/First Saturday del mes a las
22 hs. Der. espect. $ 70.
Ciclo “Segundo Tiempo”. JACQUELINE SIGAUT
y HUGO ARAUJO (cantantes) y LEONARDO
ANDERSEN (guitarra). Artistas invitados.
Segundo sábado/Second Saturday del mes a
las 21,30 hs. Der. espect. $ 60.
PEÑA DE TANGO Y FOLCLORE. Acompañamiento musical: OSCAR ALTAMIRANO
(guitarra) y CHICHE CURIALE (bandoneón).
Conducción: MARTA ROSSI.
Juev/Thu a las 22 hs. Vier/Fri y Dom/Sun
consultar/consult.
LA CASA DEL TANGO
Guardia Vieja 4049 – 4863-0463
PEÑA DE CANTORES Y POETAS
Miér/Wed y Sáb. /Sat a las 21 hs.
Bono donac. $ 40.
TEATROS
CENTRO CULTURAL BORGES
Viamonte 517, 1º p. – 5555-5359
“Bs As PASIÓN DE TANGO”. Musical. Dirección
coreográfica: Agustín Camino. Dirección musical: Adolfo Gómez. Dirección gral: Jorge Sergiani.
Lun/Mon a las 20 hs. Entr. platea $ 170 y
$ 150; pullman $ 130.
“CONCIERTOTANGO (NUEVA VERSIÓN)”.
Bailarines: Alicia Orlando y Claudio Barneix.
Diseño de luces, edición de video y musicalización: Claudio Barneix. Guión, coreografía y
dirección: Alicia Orlando.
Martes/Tuesdays a las 20 hs. Entr. platea $ 100.
“CON ALMA DE TANGO”. Musical. Dirección
coreográfica: Agustín Camino. Dirección
gral: Jorge Sergiani.
Miér/Wed a las 20 hs. $ 170 y $ 150;
pullman $ 110.
COLONIZADOS TANGOSON”. Música y danza.
Dirección musical: Roberto Amerise. Canta:
Jorge Romero. Bailarines invitados: Lorena
Fredes y Yasser Peralta; Martha Antón y “El
Gallego Manolo”.
Jueves/Thursdays a las 20 hs. Platea $ 160.
“BIEN DE TANGO II”. Musical. Dirección artística y coreográfica: Federico Strumeio.
Dirección musical: Gabriel Merlino.
Vier/Fri y sáb/Sat. a las 20 hs. Entrada platea
$ 190 y $ 170; pulman $ 140.
“TANGO BISTRÓ”. Elenco: Fabián Russo
(cantante), Fernando Oscar Martínez (bandoneón), Carlos Humberto Filipo (guitarra),
Raúl Osvaldo Martínes (contrabajo). Bailarines de la Cía. de Leonardo Cuello. Artistas
invitados: Jacqueline Sigaut (cantante) y
Bernardo Baraj (saxos).
Dom/Sun a las 19,30 hs. Platea $ 150.
LA GALERA ENCANTADA
Humboldt 1591 – 4771-9295
“MUCHO TANGO Y POCAS NUECES”. Versión
libre de la obra de W. Shakespeare. Dirección:
Héctor Presa.
Dom/Sun a las 20 hs. Entr. $ 80.
PRESIDENTE ALVEAR
Av. Corrientes 1659 – 4373-4245/43746076
“MIREYA. UN MUSICAL DE TANGO”. Con:
Graciela Bevacqua. Damián Iglesias, Leandro
Giazzia, Martín Repetto y elenco. Coreografía:
Esteban Domenichini. Música: Ángel Mahler.
Libro y dirección general: Pepe Cibrián
Campoy.
Miér. a sáb./Wed. through Sat. a las 21 hs.,
dom./Sun a las 20 hs. Entradas: platea y
palcos bajos $ 120; platea alta y palco balcón
$ 100: Tertulia $ 80. Miér/Wed. día popular
$ 80/$50.
Continued from page 6
Dear reader friend:
W
hy does the government of the city persist
in applying procedures that have already
been shown to be failures?
The implementation of the system of obligatory
registration (and exclusively) On-line Public School
Registration, for all public schools pupils began this
year (2014) and was full of mistakes. So many that
the City’s Minister of Education, Esteban Bullrich,
himself, admitted initially that 11,000 children did
not have their places guaranteed “because of a mistake in the system”. He also said that the city’s educational offer was enough to receive them all, but ended
up having to install “container (trailer) classrooms”
in the schools to accommodate all the students. I say,
why are they trying to apply the same on-line registration procedure for couples that want to compete in
the 12º City Tango Dance Championship 2014 (The
former Metropolitan Championship)?
In October 2013, when new system for on
line registration of public school students, was
announced, voices rose alerting the potential limitations and disadvantages of the proposed system.
Those concerns were later confirmed by the facts.
A court appeal (an action of protection) was
filed by the General Defender of the city pointing
out that the arbitrary replacement of the traditional
registration procedure was generating confusion
and juridical insecurity. He requested that parents
be able to choose between the on line registration
process or the traditional face to face registration
process, in their local schools. He was anticipating
problems because the new registration procedure
was being imposed in an untimely way and without
a prior massive testing at least.
With this precedent, how will dancers be able to
protest if their names will not appear on the registry of those qualified to compete? With such short
time between registration, the qualifying rounds
and the finals, even if a complaint is resolved
favorably, the surest thing is that 12º Championship of Dance will have finished already. Will the
organizers of this Championship then open complementary rounds for the excluded competitors, as
they had to immediately after a judicial order with
the category “Milongueros of the World”, in this
category competition’s first edition?
I ask for more transparency, which does not
exist within this system. Also, I ask the authorities of the city to declare how many hundreds of
thousands (or millions?) of pesos were paid to the
consulting company that made the recommendations that resulted in significant disturbances for
so many pupils who had recently registered in the
public schools.
***
This magazine was born when I was looking for
places to learn how to dance in Buenos Aires and
where the milongas were held. At that time there
were no local publications offering this information, and I offered to write a section on tango for
the editor of Vea Más magazine (1994). A year later,
the tango “section” became independent from Vea
Más and started publishing as B.A. TANGO - Buenos Aires Tango. The need generated the solution.
Now, I really fancy to sing and so began
researching where could I perform my art. Again I
was met with a lack of information.
So, from this issue on I am including in the
Guide an item entitled “Tango Open Mic”, for those
amateurs and professionals interested in finding a
place to practice performing.
***
With this issue B.A. TANGO – Buenos Aires
Tango is beginning its 20º year of continued and
uninterrupted publication. It was the first and original publication dedicated to providing information
regarding current tanguero events in Buenos Aires.
IT IS A GREAT ACHIEVEMENT THAT I CANNOT DO LESS THAN CELEBRATE!
Until next issue and, if you are a subscriber, the
next News Updates.
With a tanguero embrace
TITO PALUMBO
Editor
Tito Palumbo and B.A. TANGO Buenos Aires Tango Group are on
Marzo a Junio 2014
B.A.TANGO 51
Buenos Aires Tango
Shooting
Two Glances of the Mitre Neighborhood
By Tito Palumbo
How is it to walk along the zone
Feeling of insecurity or real threat
Its inhabitants are demonized
A
dela (78) is going home, the sunlight is
fading. She has been shopping in Parque
Saavedra and now is walking back home;
she faces the streets of the Barrio Mitre neighborhood. She is covered by a feeling of fear, she
does not know which direction to take in order
to avoid some fears that are stalking her. Some
neighbors help her by giving her directions on
how to avoid those threatening blocks.
Done! She has avoided the danger. She crosses
the railway tunnel on Arias Street and gets into
a safer area –the Metropolitan Police Station is
nearby. She has arrived home, safe and sound.
It was all a feeling of threat; nothing real,
concrete or present. The dangerous situation
existed only in her imagination.
Raimundo Rosales, poet and tango lyricist, has
been living in the Saavedra neighborhood for
fifty years--seven blocks from the Barrio Mitre.
He agreed to answer a questionnaire that we
gave him.
Were you affected by a crime in your home
or nearby, or did you know about a crime
committed near your home? Do you think it
was related to the Barrio Mitre residents?
A: Not in my case, I heard about some cases in
the area. I don’t remember how I learnt about
them, maybe from comments by neighbors or in
the media. I don’t relate them to the Barrio Mitre
residents.
In how many crimes were the perpetrators
found? Do you think they may have been
residents of the Barrio Saavedra neighborhood or the Barrio Mitre neighborhood or
other areas?
A: I don’t know in how many cases the perpetrators were found, I don’t have any reasons to
think that they may have been committed by
neighbors of the Barrio Mitre or other neighborhoods.
Are those who commit crimes young people, adults or seniors? What’s the proportion?
A: Depends on the crime. The worst ones
52 B.A.TANGO
Buenos Aires Tango
Marzo a Junio 2014
(economic
crimes, human trafficking, baby

kidnapping or drug trafficking) are undoubtedly committed mainly by adults. Maybe, on a
lesser scale crimes against property (robberies,
thefts, petty thefts) are committed by young
people.
What are the causes of crimes: drug
consumption, unemployment, the wish
to have consumer goods which otherwise
they couldn’t have, lack of education, other
causes?
A: Economic crimes, which have deteriorated
the country, are committed by an immeasurable ambition for power and money. They
aren’t committed by poor people. The crimes
committed by the poorer sectors (against property) have their origin in the exclusion generated by an unfair society. Studies indicate that
fairer societies have fewer crimes. That is why,
within Latin America, indices place Buenos
Aires among the cities with the lowest number
of crimes per resident. In countries with higher
income distribution disparity (Mexico, Colombia, Brazil, Venezuela, U.S.A.), the rate of property crime is much higher.
Do you see there has been any change in
your habits and those of your neighbors in
relation to crimes/insecurity, e.g., guardrails over doors and windows; monitoring
cameras; motion detecting lights that come
on when a person walks near them; neighborhood watch groups; others?
A: Not in my case personally. I have noticed
that over the past years, there’s been an increasing tendency in general in taking these types of
preventive measures.
Do you take part in any neighborhood
organization/association? Is it related to
crime prevention?
A: I participated many times in neighborhood
organizations in Saavedra, but they never were
on issues connected with crime prevention.
Do you notice any changes in the presence
of the police (federal and/or metropolitan)?
A: Saavedra was one of the first neighborhoods
where the Metropolitan Police started patrolling.
In your opinion, what role do the security
forces play in your neighborhood?
A: The same role as in the other neighborhoods.
Is Barrio Mitre a “shanty town” or a “neighborhood”?
A: Barrio Mitre is over 50 years old; its residents are the children or grandchildren of its
founders, they pay all utilities (electricity, etc.)
like anywhere else in the city. It is a neighborhood that belongs to Saavedra.
Do you need to go near the Barrio Mitre for
any reason? Do you take any special preventive measures that you don’t take when
you go to other neighborhoods in the city?
A: I’ve gone to the neighborhood frequently for
many years with no problem. I know some of its
neighbors. I went to my childhood school with
some of them. Of course I have no problems or
take any special measures when I go there.
Do you know about welfare plans given to
the Saavedra neighborhood and, particularly, in Barrio Mitre?
A: I don’t know about that.
What improvements have been made by the
city and/or national authorities: in schools,
hospitals, sidewalks and streets, placement of lights or improvement of existing
ones?
A: Improvements in the city, the schools or
hospitals correspond to the city government,
not to the national one. You can see improvements in general in the wealthier areas of the
city, but not in the poor areas. Saavedra covers
the entire income spectrum; in the wealthier
areas, there have been improvements (change
of sidewalks, railway tunnels, street renovation, etc.). In the poorest areas, like Barrio
Mitre, nothing has been done. During the
last big floods, Barrio Mitre was hit hard, and
many residents died. However, nothing has
been fixed yet. That is why neighbors (from
the whole neighborhood, not just the Mitre)
keep on protesting and asking for help. This
is unpublicized, it’s not shown in the media,
which is determined to continue stigmatizing
Barrio Mitre.
Can you distinguish a “feeling of insecurity” from a “real and concrete threat on your
person and/or your property,” and from
a “media campaign to instill the topic of
insecurity in society”? In your opinion, how
would you explain these differences?
A: Figures (not the ones issued by the Indec
–National Institute of Statistics and Census) say
that
Argentina is one of the countries with the

lowest crime statistics in the region. It is impossible to think of a city with suburbs of around
12 million inhabitants, where there is no crime.
There are, undoubtedly, but the media use
this to create a desperate atmosphere among
the population. This has been long studied; it
is not something I’ve discovered right now. If
there’s a theft in this neighborhood and somebody is hurt or killed, this news is kept on TV
for many days, at an average of 30 showings a
day. If we multiply that by all the media, the
result is chilling. Let’s imagine there isn’t just
one theft, but there are (because indeed there
are) several thefts, like in every big city in the
world. The effect is devastating. However, the
number of thefts (which seem to be the only
crimes we’re interested in) is much lower than
in New York, Barcelona, Mexico City or Rio de
Janeiro, though, paradoxically for the residents
of those cities, the problem of insecurity is not
as ingrained as in Buenos Aires.
Raimundo
Rosales concludes with the follow
ing words: “It makes me very sad to see the
residents of Barrio Mitre demonized. I say this
because they are my neighbors, I grew up with
them, I’ve known them for over 50 years. You
just need to stand there at 5, 6 or 7 am. and
watch hundreds of them going to work. They
live lacking many things, forgotten by all. If
there are criminals among the residents, there
are not any more than in other neighborhoods
like Belgrano, Palermo or Barrio Norte (1).”
Remembrance March

A march
proceeded from Barrio Mitre’s square
to the Prosecutor’s Office in the Saavedra
neighborhood to remember the second anniversary of Alan Tapia’s murder committed by
a GEOF (Federal Special Operations Group)
officer. His parents, grandmother, his brother
Milton, relatives, neighbors and members of
the social movements Activist Collective and
National Campaign Against the Institutional
Violence, all participated. Prosecutor Cristina
Caamaño –who is substituting for José María
Campagnoli, who has been suspended– went
out on the street to talk to the demonstrators,
who requested, among other things, the stopping of discrimination against residents of the
neighborhood. It took place on February 14,
2014.
(1) Wealthier neighborhoods.
Marzo a Junio 2014
B.A.TANGO 53
Buenos Aires Tango
Messages – Letters – Facebook and E-mails
EDUARDO MICHELI, wrote,
“Dear Sr. Palumbo: I’ve received
what you sent me. As usual, very
interesting and complete for our
tanguero environment.
I have been going to milongas
since the 30s, when I was a
child, accompanying my sister
who won the 1937 World Tango
Championship with Juan Sarquis (“The Little Turk” from
Villa Crespo) in the George
Prince Hall and who, later in
1940 won, with the same partner, the waltz and milonga contest in Luna Park Stadium.
I saw Cachafaz, The Méndez,
Tarila, Petróleo and many more
dance.
Would this be the reason why
I’m totally satisfied with your
information, especially, the page
of memories, since it evokes in
me those times when there were
dancers that are now gone. A
cordial Tanguero greeting and
I wish you a Happy New Year. I
look forward to getting back to
you soon.”
CARLOS E. GIMENO, owner of
El Folklore Argentino: “Excellent work, Tito, I wish I could
deal with the rest of Argentine
folklore with that same quality.
Congratulations! And thanks for
all this valuable material that you
share with us. A folklore hug.”
CLYDE TRUJILLO and MIGUEL
HUANCÓ, from Córdoba,
“Dear Tito. Thank you for the
magazine that we enjoy every
day more and distribute to our
students. During the year, there
were very interesting articles
that we took advantage of discussing with the people that we
have at La Maleva de Córdoba.
Hugs.”
54 B.A.TANGO
They Left Us and We
Remember Them
JUAN CARLOS COPES, Tango
Master, wrote: “Thank you Tito,
beautiful pictures! I was browsing your magazine and I liked
the format very much and they
way you are dealing with it. You
changed the profile, the format
and it’s comfortable, with a lot of
info, it’s like a guide.
CARLOS STUPAK, from Germany: “Dear Tito.....!!!!! Living
over 10,000 km away, receiving
good quality tanguera information that you offer is a huge
pleasure…Here I’m one of
those who distribute your B.A
TANGO – Buenos Aires Tango
among tangueros I know. Thank
you. A hug.”
OSVALDO VÁZQUEZ, “Tito...
such a good service and such
cordiality are moving…my gratitude to your work means more
than saying thank you. Your
work is tireless, and I imagine
you do it with great love. Otherwise, the results wouldn’t be so
good… cheers and good luck.”
JOSÉ MA, “With the same pleasure as usual I received your excellent material. Thank you very
much and I encourage you to go
on fighting for this tanguera passion which joins us. Hug!”
EUGENIA VÁZQUEZ, sent an
e-mail with this message: “I
admire your work and commitment to tango and also I
admire very much your social
commitment and total support
to Alan Tapia’s family! My warm
regards and until the next News
Updates!!”
Nelly Omar (n. Nilda Elvira Vattuone). On December 20, 2013
at the age of 102. Singer, songwriter and actress. She revealed
her vocation for singing since
she was a child. She performed
in Buenos Aires, shortly after
arriving from her hometown
Guaminí (province of Buenos
Aires), at age 13. In the 1930s
she performed singing native
songs with her sister Nelida,
while she sang tangos as a soloist. She was called “The Gardel
with Skirts.” She participated
in radio programs and toured
the provinces for years. She was
an actress in films Song of Love
(1940) and Melodies of America
(1942), and had a participation
in the documentary Café de los
Maestros (2008). She had a long
lasting and controversial affair
with Homero Manzi, until his
death in 1951. After the coup
d’etat against the government of
General Perón in 1955 (Liberating Revolution) she was banned
from radio and television media
because of her adherence to the
Peronista cause. She went into
exile to Uruguay and then to Venezuela, and returned to Argentina
the next decade. Since then she
has been performing on stage and
on television until very recently
–Nelly Omar gave recitals at Luna
Park Stadium in 2009 and in
2011. She received many tributes
and was declared Illustrious Citizen of Buenos Aires City in 1996.
“Pocho” Palmer. On February 28,
2014. Bandonionist. He accompanied singers such as Alberto
Podestá, Juan Carlos Godoy, Roberto Guiet, Juan Darthés, Lidia
Borda, Maria Graña, Alicia Pometti, María José Mentana, Carolina
Winograd and others. He was
musical director of the tanguería
“La Casa de Aníbal Troilo”, performed in Miguel Ángel Zotto’s
Tango x 2 Company. He conducted groups, and was a member of
Omar Valente, Color Tango-conducted by Amilcar Tolosa- and,
in recent years, Fabián Bertero’s
orchestras, among others.
Bibliographics
A Milonga with Personality With the Porteño Way of
ere, there is an original topic which has
Speaking
never been dealt with in the tanguera
H
literature. The experience of a milonga
organizer as told by her.
It is a succession of thanks, starting for
her co-organizer, her family, the artists that
have performed there, the personnel that
assists attendees, and includes profiles of
some of them.
The comments she received from dancers
made her make improvements and introduce
changes in her milonga. It is in constant
renovation.
The characteristics that make it different
are its tandas: for example the ones “of the
Rose”, where men pick a rose and take it to
the woman they want to ask to dance; or
the “Chocolate” one, where women pick a
chocolate candy and take it to the man they
want to ask to dance. Other unique features
include the mixed distribution of its tables,
and the “Theme Milongas”, where goers are
asked to wear certain clothes, costumes, or
have a special look.
Julia Doynel is a demanding, hard-working,
daring, brave woman. And she depicts the
determination, dedication and effort she
constantly makes for the people who celebrate life by dancing.
“GO AND DANCE… GO AND
DANCE… THAT LIFE GOES AWAY!!:
THE STORY OF SUEÑO PORTEÑO, A
LIVING MILONGA”.
Author: Julia Doynel.
Foreword: Raúl Mereñuk.
Publisher: Imprex Ediciones.
Postal address: Bolívar 653; Merlo, (1722)
prov. de Buenos Aires, Argentina.
E-mail: [email protected]
Phone 0220-483 2153.
123 pages. Year 2013.
T
he poet transports the reader to the porteños neighborhoods, streets, characters,
landscape. The poems have a traditional,
nostalgic lyricism with current topics.
He renews the city legends providing them
with the rhythm of colloquial speech. In
them, there is a moral tension based on
Christian beliefs with an orientation towards
the individual over the collective.
The love of María J. Ferraro de Gatell (“Pepita”), the author’s widow, made it possible to
publish this posthumous book.
In addition to a great number of poems –some
of them written in an educated language and
others, in lunfardo–, it contains short radio
talks, tango lyrics –some of them with their
scores– and two stories at the end.
There are new versions of the lyrics of the
well-known songs “San José de Flores” and
“Puente Alsina” for instance. It doesn’t lack
of somewhat free metric combinations; the
incorporation of a hendecasyllabic verse in
a poem formed by octosyllabic ones. Or the
inversion of impressions, “…and a thousand
eyes in the distance / look like lights burning…” (p. 37.) But, in any case, he harmoniously combines accents and pauses.
“A NICKEL’S POEMS”.
Author: Juan Carlos Gatell.
Edition under the care of María J. Ferraro
de Gatell.
Publisher: Editorial Dunken.
Postal address: Ayacucho 357 (C1025AAG),
Buenos Aires, Argentina.
Phones: (54 11) 49 54-77 00/49 54-73 00.
E-mail: [email protected]
Web: www.dunken.com.ar
168 pages. Year 2009.
Marzo a Junio 2014
B.A.TANGO 55
Buenos Aires Tango
Short Story
Ten Years Ago
Compadrita
T
he covers of those month’s
issues were illustrated by
Juan Carlos Liberti, René
Abate, Sigfredo Pastor and Chilo
Tulissi.
The featured articles were:
Tango Was Born in England
(Tito Palumbo) and Does Tango
Cure? (Jessica Grumberg). Carlos
Medrano’s first contribution,
Planet Tango, Anti-Time Space
Walks, was published.
The Photo Gallery showed,
among others, Celia Blanco,
Carlos Rossi, Mimí L. de Santapá, Carlos Rivarola and Héctor “Negro” Firpo,
Stella Díaz and Las Del Abasto, Emilio López,
Chiri Ortuño and Rubén Harymbat, Irma
and Rodolfo Ruiz, Juan Vattuone with Carlos
Avilano and Horacio Avilano, Eladia Blázquez,
Elena Sakowski de López, Judy Margolis, Tati
Caviglia, Delia Luisa Nasra and Luis Filipini,
Néstor Valle, Nélida de Villarrazo and “Bachi”
Valle, Lydia Elman de Pugliese, Leandro Porcellini, Rita Porto de Ruggiero and Mariano Ávalo,
Luis Trapasso, Adriana Jablonskis, Adriana Torrez, Myriam Garello, Mariana Avena, Chavela
Vargas and Omar Viola, Silvia Ceriani and Tete
Rusconi, Néstor Marconi, Bea Diez, Roberto
Firpo and Lila Oliva, Gloria Gatti.
During that four-month period we interviewed Silvina Scalisi and Mariano Galeano,
teachers and directors of a tango show. Also,
Cristina “Cris” Chimbela Martínez who taught
Miguel Gasparete, who was blind, deaf and
mute, to dance.
We published the following short stories
The Chosen One by Laura Nicastro, Quit of
milongueros! by Daniel Suárez, and Rubí by Juan
Lencina.
We reviewed the records Tango por Tres
(Tango by Three) with singers Alberto Morales,
56 B.A.TANGO
Virginia Verónica and Omar
Escudero; Marisa Otero (singer)
in Padre Tango (Father Tango;)
Luis Migliori and his Typical Orchestra; Fernando Rezk
(bandonion,) Marcela Pedretti
(piano) and guest artists in
Musamistonga; and a demo,
Tango Crash.
Talking about shows we
mentioned ¡Volá, vení, volá! (Fly,
Come, Fly!,) an autobiography
of Horacio Ferrer, with Héctor Gióvine, Javier Di Ciriaco,
Andrea García and Ana María
Hlousek, directed by Héctor
Gióvine, at the Teatro de la Comedia; Argentina
todo un show (Argentina Quite Showy,) a musical with Nito Artaza, Valeria Lynch, Raúl Lavié,
Juan Carlos Copes, Johana Copes, Freddy Villarreal and María Eugenia Ritó, Dancers Directress
Eleonora Cassano and General Director Nito
Artaza, at the Teatro Broadway; Animal Porteño with Marcela Paoli, Julio Zurita and Pablo
Jaite, directed by Marcela Paoli, at the Teatro del
Nudo.
New milongas openings were announced,
among others, those organized by Héctor Valle
and Alberto “Bachi” Valle on Thursdays at Salón
Señorial and on Fridays at Villa Malcolm; Alejandro Peña at Salón Reduci, Guillermo Scrinzi in a
Caballito’s neighborhood mall; Irene Cataxinos
and Raúl Da Silva at Altos de Ilusión; Adriana
Torrez at Club Ciudad de Buenos Aires, continued after by Julio Medrano; Adriana Jablonskis
at Club La Independencia; Marcela Alam and
Román Alberio at Club Inca; Silvia Dopacio at
Asociación Genovesa Argentina – Carboneros
Unidos; Tito Gómez, Leandro Gómez and Javier
Guiraldi at Club Platense; Norma Bagnuolo at
Afiche Pub; Irene Cataxinos at Sin Rumbo; Paula
Ferrío, Victoria De Paolo and Sol Aguilar at Club
La Independencia; Alicia Sabatino and Antonio
Barone at Delu; Ricardo Suárez, Luis Trapasso
and Cito Pareja at Mi Club.
(1)
By Carlos Medrano (2)
I
suddenly stopped dancing as a recognition to my
partner. I didn’t do it just because or since I felt
generous. She had earned it when I saw in her that
trace of audacity. I wanted her to make an impact – if
she wanted to make an impact – so that she could continue surprising me with her fancy.
In the following tango, she made another trick. Immediately, an intimate tap, a kind of mini-audacity. Soon
after the third song had started, she winked at me and
gave me a little embellishment. And the attractive thing
was that everything suited her well. I was happy, just
for sharing the dance with someone who had an air of
complicity and sovereignty.
She went on that way, attentive, stalking me. She knew,
she knew she was good. She knew she could (I think
she had found out that her attitude generated loads of
pleasure in me.)
Then I told myself:
Should I wait for her?... (I waited for her.)
Will she dare?... (She dared.)
Should we go on?... (We went on.)
She looked at me with that playful face… and shrugged
her shoulders like saying: It wasn’t me… if I’m this way,
what can I do? A pinch of intention could be seen in her
along with a kind of outskirt spirit (perhaps an outskirt
that she sensed or that she knew in a previous life.)
Like playing dumb, that first and surprising tanda
passed by. Almost when the following was ending, I
couldn’t restrain myself, I was overcome by emotion…
no way, my muzzle released and I dared say: You’ve just
Show
told me you were born in the Floresta neighborhood, you
grew up in Almagro and now you live in Palermo; but I
can see how intensely you dance and I can feel another
origin... another DNA… another identity… I hope I’m
not wrong but I think you must have made your first steps
in the Three Corners Neighborhood (3) … I can feel that
in your veins runs something more than an attractive
subtlety… accompanied by certain doses of compadraje. I
say this because I can see it in your aura. Tell me, to come
here, did you come like in a tube through a yard with
wisterias… a gate… a hallway… a threshold… a paving…
an avenue… a red carpet… a ballroom? As if she hadn’t
heard me, she said intensely: “Would you dance a tanda
of waltzes with me going round and round?” I answered:
“Absolutely!... Come on Compadrita. Let’s levitate each
other! So we’ll continue enjoying one another here and
now. Come on… whatever, life’s too short so we have to
live. Make a flower of yourself, come on, excel, give it your
all, like the best, come on, I’m waiting for you smacking
my lips thinking about the moves I’ll give you.”
When another pause, another chance, another silence
came, her eyes shone eagerly like two bright lighthouses, and then I whispered to her: “Che papusa, listen, tell
me, for God’s sake, what did you do to me, that I am so
changed, that I don’t know who I am?”
Her eyes closed, she listened, sighed, smiled, didn’t say
a word…
What a night… Some night was that night!
Extraordinary and ethereal… That was her…
Besides dancing… she could fly!!!
(1) Compadrita: arrogant, showy, flashy woman.
(2) E-mail: [email protected]
(3) Tres esquinas (Three Corners), tango. Lyrics:
Enrique Cadícamo. Music: Ángel D´Agostino and
Alfredo Attadia (1941).
Stravaganza Tango
And now it’s time for tango! Flavio Mendoza has
made a hit out if his shows “Stravaganza” performed in Buenos Aires and in Villa Carlos Paz
(province of Córdoba.) They exhibit striking choreographies, fantastic scenery, brilliant wardrobes,
and an abundance of aquatic acrobatics.
The successful director and choreographer decided to
bet on our popular genre and will stage −together
with Ariel Diwan his habitual producer− “Stravaganza
Tango: Without Rules for Love”, at the Broadway
Theater, about the middle of this year. It tells a story
about our porteña music with folklore, and acrobatics.
There will be dancers, a live orchestra −40 artists on
stage−, impressive staging and artistic production,
plus a giant screen and water as a surprise element.
Two important figures have already been engaged
to head the cast. One is the actor Nico Vázquez,
who has a long television career in My Friends of
Always, Only You, Almost Angels, They Are Loves,
etc. The actor will wear the skin of a tango poet
who will claim for homosexual love. He shares the
stage with dancer Melina Sol Greco –who is already
performing in the Stravaganza shows–. She is a
teacher of classical and contemporary dance; now
converted to tango. She has given exhibitions in
several milongas, along with Junior Cervila, Lucas
Molina Gazcón, Fernando Andrés Rodríguez and
Cristian Bravo as her partners.
Marzo a Junio 2014
B.A.TANGO 57
Buenos Aires Tango
Selected Records
Selected Records
The work of a great maestro in new versions
Ástor Piazzolla used in his compositions a language with original
tango elements but its referentiality transmuted to become city
music.
Ernesto Acher adapted the original works by the great maestro;
he kept the musical notation and obtained faultless and respectful
sounds in each song.
He gathered outstanding musicians, amalgamated them in the
performance, to achieve a little calmer versions than the fervent
ones created by the composer. Everything happens in a simple,
fluent, exact way, with no shrillness or weakness.
Recorded at the Astral Theatre, in November 2011.
“TRIBUTE TO PIAZZOLLA.
ERNESTO ACHER & Chamber Orchestra”. Conductor,
versions and transcriptions
by: Ernesto Acher; First Violins: Humberto Ridolfi, Alfija
Gubaidulina, Grace Medina,
Demir Lulja, Cecilia Barraquero; Second Violins: Alejandro Schaikis (soloist), Gabriel
Pinette, Sebastián Masci,
Silvio Murano, Nicolás Tabbush; Violas: Gabriel Falconi
(soloist), Claudio Medina,
Suggestive composer and great singer
Daniel Teitelbaum; Violoncellos: Marcelo Bru (soloist),
Edgardo Zollhofer, Matías Villafañe; Double Basses: Daniel
Falasca (soloist), Tomás
Falasca; Oboe: Natalia Silipo;
Clarinet: Mariano Rey; Coordinator: Gabriel Pinette. Publisher: Acqua Records S.R.L.
E-mail: info@acqua-records.
com. Catalog Nº AQ 368. Year
2012. Length 68’.
1) Get Ready, 2) Things to
Come, 3) Brown and Blue,
4) Bandó, 5) Bad Mood, 6)
Oblivion, 7) Portrait of Alfredo
Gobbi, 8) Farewell Nonino, 9)
Fracanapa, 10) Introduction
and Death of the Angel, 11)
The Four Porteñas Seasons,
12) Libertango. All the songs
by Ástor Piazzolla.
Young men cover standards
The songs in this record are a source of well known melodies with
an enduring attraction. They show a correct inquiry into the most
important creators of the popular music.
The trio performs with accurate features, which are perfectly
synchronized, where the nostalgic brightness typical of the
genre stands out, mingled with a range of contrasted effects and
resources.
They play like a small chamber group, loyal to the tango essence.
They prove to have compelling skill in each of the songs played.
Marco Bellini knows how to convey sorrow and pain caused by
past loves; his singing is expressive and his voice gives dramatic
depth to the verses in Remembrance, Coming Down and What
you deserve.
“VA DE NUEVO (IT GOES
ONCE MORE)”. Martín Casal,
Agustín López and Gastón
58 B.A.TANGO
Ruiz (guitars), Marco Bellini
(vocals). Contact: [email protected]
A virtuosa guitar player, with excellent fingering. Seriousness,
moderation, expressive stresses and a phrasing characterized
by low sounds and transparency, her playing adjusts to the genre
standard.
In these versions, tango achieves the high levels that put it at
the same level as other genres performed in concert rooms. The
artist’s total dedication can be noticed in the hard requirements of
the aesthetic and expressive proposals claimed in the elaborated
arrangements.
In relation to this, the ones she made with Alfredo Gobbi, Juan
Carlos Cobián and Ástor Piazzolla’s compositions are admirable.
“TANGO, SIX ROADS TO LOVE.
MIRTA ÁLVAREZ”. Mirta
Ávarez (guitar and vocals).
Contact and hiring: [email protected]; www.
mirtaalvarez.com.ar.
Distributed by: EPSA Music S.A.
Postal address: 1546 Lavalle
St., 2º Floor, “A”; (C1048AAL)
Buenos Aires. Phone 53 52-43
76. E-mail: info@epsamusic.
com.ar. Internet: www.epsamusic.com.ar. Catalog Nº 122802. Year 2011. Length 43’.
1) The Entrerrianean (Rosendo Mendizábal), 2) Distant
Land of Mine (Carlos GardelAlfredo Le Pera), 3) To Come
Back (Carlos Gardel-Alfredo
Le Pera), 4) Sunny Little
Road (Carlos Gardel-Alfredo
Le Pera), 5) The Wanderer
(Alfredo Gobbi), 6) Black
Flowers (Francisco De CaroCésar Gomila), 7) Traces of
Light (Mirta Álvarez), 8) Old
House (Edmundo Zaldívar),
9) The Little House of my
Parents (Juan Carlos CobiánEnrique Cadícamo), 10) Sad
Milonguero (Aníbal Troilo),
11) Porteño Autumn (Ástor
Piazzolla), 12) Porteño Summer (Ástor Piazzolla.)
Love Has Many Facets
Facebook: tangovadenuevo.
Year 2013.
Laura Ughetti has a clear, bright voice. With a light vibrato when
she must sustain a note.
1) The Cachila (Eduardo Arolas-Héctor Polito), 2) Remembrance (Osvaldo PuglieseEduardo Moreno), 3) Dancer
(Julián Plaza), 4) The Cheating Woman (Aníbal Troilo), 5)
Outskirts Moon (Julio César
Sanders-Enrique Cadícamo),
6) Coming Down (Carlos
Gardel-Alfredo Le Pera), 7)
Black Eyes (Vicente GrecoPedro Numa Córdoba), 8) Heel
Tapping (Pedro Maffia-José
Horacio Staffolani), 9) What
you deserve (Carlos OlmedoAbel Aznar).
She has chosen a love-centered repertoire, addressed in very
different situations. The happy little French girl who arrived in
Buenos Aires only to have a sad ending; the teenagers’ idyll which
did not come true; the girl who is loyal to her man; the one who
does not accept her ex boyfriend’s compliments because she has
a new love; and so on.
A good artistic future can be foreseen for this singer.
Accompaniment is made by a professional with a long career.
“SWALLOWS. LAURA UGHETTI”. Laura Ughetti (vocals),
Alfredo Sadi (guitar, guitarrón and arrangements). Contact: laura.ughetti@gmail.
com. Producer: Laura Ughetti.
Year 2013. Length 36’.
1) Griseta (José González
Castillo-Enrique Delfino), 2)
Little Piece of Heaven (Homero Expósito-Héctor Stam-
poni), 3) Swallows (Carlos
Gardel-Alfredo Le Pera), 4)
From the Outskirts (Eduardo
Calvo-Osvaldo Fresedo), 5)
Loneliness (Carlos GardelAlfredo Le Pera), 6) For the
Return (Enrique CadícamoJosé Tinelli), 7) I Fell in
Love Once (Ivo Pelay-Francisco Canaro), 8) Bitter Fruit
(Homero Manzi- Hugo Gutiérrez), 9) Flax Flower (Homero
Expósito-Héctor Stamponi),
10) Julián (José PanizzaEdgardo Donato), 11) The
Dizzy Ones (Enrique Cadícamo -Juan Carlos Cobián), 12)
Sentimental Milonga (Homero
Manzi-Sebastián Piana).
Marzo a Junio 2014
B.A.TANGO 59
Buenos Aires Tango
Interview Continued from page 17
Bandonion repair in good hands
used. Filing a steel reed too much. Or not knowing
how to rivet a reed.“
“I was raised here, when I was very young, I would crawl upstairs to the workshop.”
“When bandonion factories closed in Germany and spare parts were difficult to get,
my father had molds made to manufacture them here.”
“We respect the instrument very much. We give everything inside ourselves so that
the musician will be satisfied.”
A CHALLENGE
Not all the bandonions that they receive have been
well treated. Now they have one that when they
received it, Ana said to her daughter, “This is going
to be a challenge.” Julia answered, “In this condition, we’re going to have it around a year.” “We
told the owner that we’d do the work, but not in a
hurry. Putting each piece in its place takes a very
long time.” When this interview took place, they’d
already made the bellows and they were making the
frame where the reeds are placed –one at a time.
I
t is surprising to see two women using hand
tools that can be bought in any hardware store.
The expertise acquired to get a useful, satisfactory, tangible result fills them with pride. Learning a trade has taken them many years. They have
totally different skills from those needed to fix a
car, computers or gadgets in a factory’s assembly
line, where technology changes every few years,
like the workers who operate them.
From one generation to the other, for eighty
years, they have fixed bandonions. These musical
instruments began to arrive in Buenos in 1900
and had been imported from Germany until
World War II (1939-1945) began. Their continuous use and the passing of time caused them to
become damaged and broken.
Jorge Weckesser also came from Germany in
the early 30s with a trade learned in his homeland: bandonion and accordion tuning. When he
was single and lived in Villa Domínico (Greater
Buenos Aires – South) he had a typical orchestra
that performed in neighborhood clubs and weddings. That is how he met his future wife. They
got married in 1942, he gave up performances
and totally devoted himself to repairing and tuning bandonions.
Little before his first daughter, Ana María,
was born, they moved to the house where the
workshop is still located, in the Barracas neighborhood, next to where the very well known tangueria Señor Tango is now situated.
“I was raised here, when I was very young,
I would crawl upstairs to the workshop. When
I argued with my sister, my father called us and
had us do some task. Over time, as he didn’t have
any sons, I started working with him. When I was
young, I didn’t like that work very much. I did it
60 B.A.TANGO
as an obligation. Later, I got to like it and now I
do it willingly,” says Ana María Weckesser.
After her father’s death, she had some talks
with her two sisters about what they would do
with the workshop. They didn’t want to continue
with the trade, but Ana María, who lived in San
Luis province then, said “I DO want to try, I’m
going to continue.” She called three or four bandonion players to tell them. Rumor had it that
“the German’s daughter” would continue working,
and that’s how she succeeded.
Currently, she makes the repairs with the help
of her daughter Julia Orroño Weckesser.
Many different materials are used to manufacture
the pieces of a bandonion. The reed plates are made
of aluminum or zinc; the reeds, of steel; the buttons,
of Bakelite and plastic (galalith) – a part is made
of wood and another of plastic with a nacre eye.
Today, they are made of plastic with a celluloid eye.
The bellows are made of cardboard; and it has other
materials: faux leather, paper, leather; the boxes are
made of wood (silver fir).
Bandonions have around 4,000 different pieces.
“When World War II started, bandonion factories
closed in Germany and spare parts were difficult
to get, so my father had molds made to manufacture them here. In addition to using them in our
work, we sell these spare parts to tuners in Argentina and other countries. Today, we can dare say
we are almost the only ones who manufacture
them. We receive purchase orders from Germany,
Spain, Japan, Turkey, Uruguay, Chile, and Mexico,
among other countries. Besides, we manufacture
the bellows, which are very appreciated by musicians,” said Ana María Weckesser.
What are the pieces that are most frequently
changed?
“The reeds and the bellows (today, there are still
original bellows over 80 years old.) The springs and
the joints. Sometimes the carved covers have to be
changed.”
When can an instrument be repaired and
when not?
“Those coming here are over eighty years old. If
they have been treated well, the mechanical pieces
are not worn out. They can be fixed and the result
is very good. It is an instrument that, when treated well, it remains in a very good state. They can’t
be fixed when they have been touched by inexpert
hands or have been treated badly, because the
result will be bad. They have been fixed badly
when inadequate glue or materials have been
Bandonion players who have other professions
“With great enthusiasm about bandonion, tango
music and dance, many people come from abroad.
Some highly educated people come for a spare part
or for a repair. It is very weird to meet a physicist
or math teacher who is so interested in this instrument. They had learned how to play music. One of
these is the case of Dr. Roberto Rabinovich, a physician who has an orchestra in Edinburgh –Orquesta
Atipica of Edinburgh– and there are more teachers
in Europe.”
What spare parts do you manufacture?
“We manufacture complete bellows, corner pieces,
ribs, buttons, new wooden carved covers. We also
do the polishing. We make springs, valve leverages,
straps for the handle and lyres (these are an ornament.)”
How do you see the situation of young bandonion players? Do they have instruments for
learning on and for their professional work?
Ana María Weckesser said, “I see there are many
young people who are studying bandonion and
they study a lot. And they are very good players.
Depending on their economic facilities, some
have two or more bandonions, but some have
only one. From the economic point of view, it’s
always been difficult to live by art alone. There
are bandonions for studying, but mature adults
don’t study with those instruments. It is better to
buy a bandonion like the ones used by professionals, even if they’re not in a very good condition.”
INVITED TO THE GERMAN EMIGRANT MUSEUM
“We were invited to Germany thanks to the bandonion. The story began with scenes of a movie
being shot in our workshop. The movie was
“The Last Bandonion,” with Rodolfo Mederos
and Marina Gayotto; the director was Alejandro
Saderman. Then, Ciro Capellari, an Argentine
film director who lives in Berlin, came to Buenos
Aires and told the people who made the movie
that he wanted to meet somebody from Germany
who was related to bandonions. And he was sent
here. I told him the story of my family that had
arrived from Hamburg. He was interested in what
my father had developed since the bandonion is a
German instrument. Soon after that, Ciro Capellari told us that we had been invited to Germany
by the German Emigrant Museum, that was in
Bremerhaven. My husband, my daughter Julia,
other relatives, and I, went in November 2007.
We had an opportunity to get to know Germany;
and were received wonderfully. We were invited
for a week, but we took advantage of the invitation and, on our own, we extended the trip staying for a total of twenty days.
What defines the repairs that you make?
“We do our job with much affection; we respect
the instrument very much. We give everything
inside ourselves so that the musician will be satisfied. We have a name whose prestige has to be
maintained. We make all the necessary efforts.
We’re not as interested in the money we’re going
to get paid for the repair as we are in the final
result; that the instrument is being well repaired
so that in the end the musician will be pleased.”
Marzo a Junio 2014
B.A.TANGO 61
Buenos Aires Tango
Gender
Among Women
T
ENSEÑANZA Y PRÁCTICA
By Claudia Sanese
wo years ago, I went to a center for retired people
(pensioners) where my aunt used to go, because I
wanted to learn how to “lead” or, as they say, “be
the man.” I prefer the former because it’s not my intention to be a man or look like a man, but to know both
roles to dance tango. I’ve always had that whim.
On a Tuesday, I took a “queer tango” class with
Mariana Docampo Excellent teacher. Interesting experience. I led and followed. I danced with women and
men, almost all of them foreigners. It was very funny.
So I jumped out onto the dance floor in the senior
center, but when my female friends started to dance
with me, I dared more. I really enjoyed it!
It’s widely known that in the milongas, there are
always more women than men. And also that men
can choose among an assortment of attendees, while
women can only accept or decline the invitation (that’s
what we’ve been taught to do.)
Besides, many women go just for the pleasure of
dancing, not to find a partner. So, if a woman dances
well, why not dance with her?
Now, when a female friend accepts, I ask her to
dance. First, I wait to see if she’s asked by a man. I can’t
compete with them, and I don’t expect to do it.
I know that I have a long way to go, but I’m convinced of my reasons. On the one hand, I cooperate
with the female beings who are less coveted and get
bored with not dancing. On the other hand, dancing
makes me happy, either following or leading. And if I
can make somebody else happy, much better!
Education
One Saturday, I went to a milonga with friends. A
man, and four women. We made an authentic socialist
table. We shared the man and took turns dancing with
him. That night, I asked Alicia to dance; it was the first
time that she went to that milonga and she wouldn’t
be asked to dance. She gently accepted my invitation
to dance. After dancing with me to Francisco Canaro’s
music, coming back to the table, she told me: “You lead
very well! I won’t dance with men again!”
A great dancer! A milonguera since ever, we danced
a second tanda.
Another Saturday, a friend accepted my invitation to
dance a set of tangos sung by Ada Falcón. Dancing with
a woman tangos sung by another woman, it’s something
you can’t tell: you have to dare and do it. Or refrain
from doing it and criticize.
A couple of times, I danced exchanging roles
with a colleague (Magali Saikin, based in Germany
with her husband, who’s a musician, with whom she
teaches tango), author of the book Tango and Gender.
She reflected about tango between men, machismo,
the codes, the roles and stereotypes like girlfriend or
mother. Her style is more modern (in leading and following). I like the milonguero style more. But the most
important thing is that we had a lot of fun and we had
the chance to learn a bit more about human nature.
I think that the new generation of milongueros is
not formed by people in their twenties who repeat the
old codes, but by those who, no matter how old they
are, dare to break old customs.
Maybe, many don’t like dancing between women,
but times are changing. Women are not okay anymore
with having to wait sitting. If men ask us to dance,
better! But if they don’t, we’re going to dance among
ourselves.
1st. International Tango Symposium for Musicians
This meeting will be held from 21th to 27th July,
2014, at the Space for Memory (former ESMA.)
It is for musicians of all latitudes who wish to
approach, meet, share and learn the basic technical
elements of tango music.
The meeting envisages the realization of various
classes, ensemble practices, lectures, discussions,
master classes and public concerts.
The teaching staff includes: Ramiro Gallo, Ignacio
62 B.A.TANGO
Varchausky Schissi Diego, Julián Peralta, Exequiel
Mantega, Paulina Fain, Federico Pereiro, Hernán Possetti, Gustavo Hunt, Patricia Andrade, Adrián Enríquez,
Adrián Lacruz and Jorge Jewsbury, among others.
The organizers are: Tango Sinfin and the Nation`s
Presidency Secretary of Culture.
For further information contact: Blog: http://tangoparamusicos.wordpress.com; e-mail: [email protected]; Web: www.tangoparamusicos.org;
Facebook: TangoParaMusicos.
ENSEÑANZA Y PRÁCTICA • TEACHING & PRACTICE • UNTERRICHT UND ÜBUNGSTREFFEN •
ENSEIGNEMENT ET ENTRAINEMENT • ENSINO E PRÁTICA
REFERENCIAS • REFERENCES • BEZÜGE • RÉFÉRENCES • REFERÊNCIAS
E = Enseñanza todo nivel; Teaching all levels; Unterricht für alle Stufen; Enseignement pour tous niveaux; Ensino todos os níveis.
EP = Enseñanza principiantes; Teaching beginners; Unterricht für Anfänger; Enseignement niveau debutant; Ensino iniciantes.
EI = Enseñanza intermedios; Teaching intermediates; Unterricht für Mittelstufe; Enseignement niveau moyen; Ensino intermédios.
EA = Enseñanza avanzados; Teaching advanced; Unterricht für Fortgeschrittene; Enseignement niveau avancé; Ensino adiantados.
Prá= Práctica; Practice; Übungstreffen; Entrainement; Prática.
HORA DE INICIO TIPO DE NOMBRE
/FINALIZACIÓNACTIVIDAD
BEGINNING HOUR TYPE OF
NAME
/ENDING HOUR
ACTIVITY
ANFANGSZEIT
ART DER NAME
/SCHLUSSAKTIVITÄT
HEURE DU DEBÚT GENRE
NOM
DU COURS/HEURE D´ACTIVITÉS
DE FIN DU COURS
HORA DO COMEÇO TIPO DE
NOME
/FINALIZAÇÃOATIVIDADE
DIRECCIÓNTELÉFONO
ADDRESS
TELEPHONE
ADRESSE
TELEPHON
ADRESSE
TELÉPHONE
ENDEREÇO
TELEFONE
11 a 12,30
13 a 14,30
14 a 15,30
18 a 19,30 18 a 20
18,30 a 20
19 a 20
19 a 21 19 a 20
19 a 20,30
19,30 a 21
19,30 a 21
20 a 21,30
20 a 22 20 a 21,30
20 a 22
20 a 22
20,30 a 22
20,30 a 22
20,30 a 22 20,30 a 22
20,30 a 22
21 a 23
21,30 a 23
22 a 2
E
E
E
E
E+Prá
EP
EI
EP
EP +EI
E
EA
E
EP
Prá EP
Prá
E+Prá
E
E
E EI+EA
E
EA
EI+EA
Prá
LUNES - MONDAY - MONTAG - LUNDI - 2ª FEIRA
Patricia Gómez (técnica p/mujer)
Viamonte 517, 2º nivel
Maju Marini
Sarmiento 4006
Lic. Claudia Bozzo
San José 364, p. 3º, “A”
Néstor Figueroa
Ramón L. Falcón 2750
Ricardo Dupláa
Perú 272, e.p.
Lic. Claudia Bozzo
Rodrigo Verón Ecuador 682
Alberto Catalá y Belén Montel Av. Scalabrini Ortiz 1331
Néstor Pellicciaro
Junín 143, p. 1º, “A”
Jonathan Villanueva
Sarmiento 3989
Roberto Canelo y Valeria Eguía Ecuador 682
Valeriana Perelsztein y Federico Prado Sarmiento 4006
Marta Famá
Manuel A. Rodríguez 1191
Martha Antón y “Gallego” Manolo Junín 143, p. 1º, “A” Carlos Roberto y Marcela Salgado
Barzana 2088
Carlos Pérez y Rosa Forte
Lugones 3161
V. Batiuk, Dina Martínez y L. Valle
Av. Córdoba 5064
Sandra Gatti y Eduardo Arce
Sanabria 1378
Roberto Canelo y Valeria Eguía (milonga)Ecuador 682
Patricia Antelo y Alberto Sancia Kawamichi Av. Ángel Gallardo 102 Lic. Claudia Bozzo
Marcela y Jorge Colombo
Av. Juan B. Justo 9200
Gabriel Angió y Natalia Games
Av. Scalabrini Ortiz 1331
Marta Famá
El Motivo Tango. Batiuk, Martínez y Valle Av. Córdoba 5064
12,30 a 14
14 a 16
17 a 18,30
17,30 a 19
18 a 19,30
18,30 a 20
19 a 20,30
E+Prá
EP+EI
E
EP
EP+EI
E+Prá
EP+EI
MARTES - TUESDAY - DIENSTAG - MARDI - TERÇA FEIRA
Zoraida Fontclara y Diego Alvaro
Suipacha 384, 1º p
4306-5800/4328-7750
Paula Franciotti y Orlando Scarpelli
San José 224, p. 1º
15-5919-9339/15-6854-4546
Estela Bernal
Sanabria 3333
6380-3572/15-6221-3074
Néstor Pellicciaro y Y. Ardila (niños)
Junín 143, p. 1º, “A”
4953-1212
Pina Rados
Ramón L. Falcón 2750
4611-7211/4502-7331
Mónica Paz Riobamba 30, p. 1ª, “A”
4953-0702/15-5706-1241
Néstor Pellicciaro
Junín 143, p. 1º, “A”
4953-1212
4312-4990/15-5726-7570
15-5325-1630
4383-0466
4612-4257/4611-7211
4795-2894
4383-0466
4964-0324/15-5424-2847
15-5738-3850
4953-1212
15-2540-0740
4964-0324/15-5424-2847
15-5325-1630
3526-4191/15-5645-8027
4953-1212
15-6845-4526/15-5959-5302
4541-9776/4605-8234
4567-9394/15-5124-4768
4964-0324/15-5424-2847
15-5404-7060/15-5410-8376
4383-0466
4652-5805/15-5804-3299
15-5738-3850
3526-4191/15-5645-8027
Marzo a Junio 2014
B.A.TANGO 63
Buenos Aires Tango
19 a 21 EP+EI
19 a 20,30 EA
19 a 20,30 E
19 a 20,30 E
19,30 a 21 EP
20 a 22
E+Prá
20,15 a 22,30E
20,30 a 22,30E
20,30 a 22 EI
20,30 a 22 EA
20,30 a 22 E
20,30 a 22 E
20,30 a 22,30E
20,30 a 22 E
20,30 a 23,30Prá
21 a 22,30 EI
21 a 22,30 E
21 a 22,30 E
21 a 22,30 EI+EA
21 a 23
EI+EA
21 a 23,30 E
21 a 22,30 E
21,30 a 22,30 EP+EI
Javier Maldonado y Mónica Parra
15-5738-3850/15-5709-5344
Lic. Claudia Bozzo (técnicas integradas) San José 364, p. 3º, “A”
4383-0466
Jonathan Villanueva Guardia Vieja 4049
4863-0463/15-2540-0740
Iván Inera
Av. Pavón 3918
15-4173-2323
Fernando Carrasco y Karen Alcaraz Ecuador 682
4964-0324/15-5424-2847
Ricardo Viqueira
Av. Ricardo Balbín 4699
4382-7719/15-3359-7749
Av. Figueroa Alcorta 7597
4652-5805/15-5804-3299
Celia Blanco
Humberto Iº 1783
4304-2438/15-4184-4244
Sanabria 1378
4567-9394/15-5124-4768
Lic. Claudia Bozzo San José 364, p. 3º, “A”
4383-0466
Olga Besio
Junín 143, p. 1º, “A”
4953-1212
Mariana Docampo Perú 571
15-3252-6894
Jorge Kero (gira mayo a 15 de junio) Tte. Gral. J. D. Perón 2057, “A” 4207-4570/15-4972-2099
Estela Bernal
Castro Barros 236
6380-3572/15-6221-3074
Iván Inera
Av. Pavón 3918
15-4173-2323
Roberto Canelo y Valeria Eguía
Ecuador 682
4964-0324/15-5424-2847
Paula Franciotti y Orlando Scarpelli (mayo) Riobamba 345
4866-1656/15-5153-8626
Jorge Firpo (seminario – junio)
Riobamba 345
4866-1656/15-5153-8626
Guillermina Quiroga (seminario) Riobamba 345
4866-1656/15-5153-8626
Corina De La Rosa y Julio Balmaceda Av. Scalabrini Ortiz 1331
15-5738-3850
Mimí Santapá y Leandro Santapá Av. J. B. Alberdi 436
4639-0385/15-5055-6826
Valeriana Perelsztein y Federico Prado Sarmiento 4006
15-5325-1630
Elizabeth Guerrero
Av. Independencia 2890, p. 2º
4931-3644
15 a 16,30 E
16,30 a 19 Prá
18 a 20
EP
18,30 a 20 EP
18,30 a 20 EP+EI
18,30 a 20 E
18,30 a 20,30EP+EI
19 a 20,30 EI
19 a 20,30 E
19 a 20,30 EP+EI
19 a 20,30 EI+EA
19,30 a 21 EP
19,30 a 21 E
20 a 22,30 E
20 a 21
E
20 a 21,30 EI
20 a 22
Prá
20 a 21,30 E+Prá
20 a 22
E
20 a 22
EP+EI
20,30 a 22 E
20,30 a 22 Prá
20,30 a 21,30E
20,30 a 22 EP+EI
20,30 a 22 EI+EA
21 a 22,30 EA
MIÉRCOLES - WEDNESDAY - MITTWOCH - MERCREDI - 4ª FEIRA
Maju Marini
Sarmiento 4006
15-5325-1630
Maju Marini
Sarmiento 4006
15-5325-1630
Marcelo Tévez
Jean Jaurés 735
4964-2015/2071
Lic. Claudia Bozzo
San José 364, p. 3º “A”
4383-0466
Camila Fontán y Matías Díaz
Estado de Israel 4116
15-5423-6280/15-4430-7329
Alfredo Maldonado
Guardia Vieja 4049
4863-0463/15-4033-0242
Tato Ferreyra
Av. San Juan 3330
15-5768-3924
Guido Zárate y Florencia Palacios
Ecuador 682
4964-0324/15-5424-2847
María Edith Bernatene Piedras 936
4941-9314/15-5422-5047
Edgardo Pérez Sesma
Iriarte 2290
4303-3393
Blas Catrenau y Luciana Guido
Junín 143, p. 1º, “A”
4953-1212
4964-0324/15-5424-2847
Ariel Kalejman y María Palazón
Sarmiento 4006
15-5325-1630
María Telma Polcan
Cabello 3958
4863-0185
Marta Famá
3526-4191/15-5645-8027
Lic. Claudia Bozzo
4383-0466
Carlos Pérez y Rosa Forte
Lugones 3161
4541-9776/4605-8234
Graciela Fileni
Av. San Juan 3330
15-3003-9926
Delfín Gavilán
Guardia Vieja 4049
4863-0463
Elina Ruiz y Loli Oviedo
Ramírez de Velasco 55
15-5455-3550/15-4177-3530
Sanabria 1378
4567-9394/15-5124-4768
María Edith Bernatene Piedras 936
4941-9314/15-5422-5047
Edith Páez (técnica p/mujeres)
Sarmiento 1411, p. 1º, “2”
15-5524-8396
Juan Stefanides y Eugenia Martínez
Benjamín Matienzo 2696
15-6663-4170
Pedro Ochoa y Cecile Boucris
Junín 143, p. 1º, “A”
4953-1212
Ecuador 682
4964-0324/15-5424-2847
64 B.A.TANGO
Marzo a Junio 2014
B.A.TANGO 65
Buenos Aires Tango
21 a 22,30
22 a 1
22 a 2
22 a 2
E
Prá
Prá
Prá
Virginia Ravena y Sandro Nunziata
Sarmiento 4006
Elina Ruiz, Loli Oviedo, G. Benítez y M Pérez D. Ramírez de Velasco 55
Ana Monteagudo y Pablo Retamar
Maza 177
Olga Nieves Garay
Carlos Calvo 3778
15-5325-1630
15-5455-3550/15-4177-3530
15-5045-6019/15-5601-8280
15-3565-2879
12,30 a 14 E
14 a 16
E+Prá
14,15 a 15,45EI+EA
17,30 a 19 EP+EI
18 a 20
E+Prá
18,45 a 20 E+Prá
19 a 20,30 EP
19 a 20,30 EP+EI
19 a 20
EP
19 a 20
E
19,30 a 21 EI
19,30 a 21,30EI+EA
19,30 a 21 E
20 a 21
EI+EA
20 a 21
EI+EA
20 a 22
E+Prá
20 a 22,30 Prá
20,15 a 22,30E
20,30 a 22 E 20,30 a 22 EP+EI
20,30 a 22 EP+EI
21 a 22
EI+EA
21 a 22,30 EI
21 a 22,30 E
21 a 21,45 Prá
21 a 22,30 E
21 a 23,30 E
21,30 a 24 E+Prá
JUEVES - THURSDAY - DONNERSTAG - JEUDI - 5ª FEIRA
Lic. Claudia Bozzo
Sonia Peralta
San José 224, p. 1º
Lic. Claudia Bozzo (técnicas integradas) San José 364, p. 3º, “A”
Néstor Pellicciaro y Yohana Ardila
Junín 143, p. 1º, “A”
Ricardo Dupláa
Perú 272, e. p.
Oscar Del Barba y Alejandra Roldán
La Rioja 1180
Jean Pool
Iriarte 2290
Violeta Viola
Sánchez de Loria 745
Amadeo Avilés y Mónica Daniel
Gral. Hornos 238
Roberto Canelo y Valeria Eguía (milonga)Ecuador 682
Carlos Roberto y Marcela Salgado
Barzana 2088
Jonathan Villanueva Guardia Vieja 4049
Sandra Gatti y Eduardo Arce Sanabria 1378
Violeta Viola
Ricardo Dupláa
Sarmiento 1551
Amadeo Avilés y Mónica Daniel
Gral. Hornos 238
Av. Figueroa Alcorta 7597
Patricia Antelo y Alberto Sancia Kawamichi Av. Ángel Gallardo 102 Yohana Ardila
Junín 143, p. 1º, “A”
Martín Aguirre
Lisandro de la Torre 2319
Sandra Gatti y Eduardo Arce Sanabria 1378
Ecuador 682
Juan Stefanides y Eugenia Martínez
Violeta Viola
Gustavo Ameri y Jorgelina Contreras
Sarmiento 4006
Mimí Santapá y Leandro Santapá Av. J. B. Alberdi 436
Nico Fernández Larrosa
Cochabamba 444
4383-0466
4383-7283/15-5137-9061
4383-0466
4953-1212
4795-2894
15-6122-8211/15-5729-9532
4964-0324/15-5424-2847
4303-3393
4629-3085/15-3246-8482
4361-8681/15-6899-2101
4964-0324/15-5424-2847
15-59595302/15-5959-5280
4863-0463/15-2540-0740
4567-9394/15-5124-4768
4629-3085/15-3246-8482
4795-2894
4361-8681/15-6899-2101
4652-5805/15-5804-3299
15-5404-7060/15-5410-8376
4953-1212
4601-8859/15-6991-7643
4567-9394/15-5124-4768
4964-0324/15-5424-2847
15-3688-1388/15-5820-7017
4629-3085/15-3246-8482
15-5325-1630
4639-0385/15-5055-6826
15-5721-0108
12,30 a 14
18 a 20
18 a 19,30
18,30 a 20 18,30 a 20
18,30 a 20 19 a 20,30 19 a 21
19 a 20,30 19 a 20,30
19 a 20,30
19,30 a 21
19,30 a 21 20 a 21,30 20 a 22,30
20,30 a 22
VIERNES - FRIDAY - FREITAG - VENDREDI - 6ª FEIRA
Zoraida Fontclara y Diego Alvaro
Suipacha 384, 1º p
Marcelo Tévez
Jean Jaurés 735
Marta Etcheverry
Blanco Encalada 2848
Lic. Claudia Bozzo
Pablo Cabrejos
Sarmiento 4006
V. Batiuk, Dina Martínez y L. Valle
Av. Córdoba 4030
Rodrigo Verón
Ecuador 682
profesores invitados
Paula Franciotti
Junín 143, p. 1º, “A”
Alfredo Maldonado
Guardia Vieja 4049
Violeta Viola
Pje. E. Santos Discépolo 1830
Nina Balbuena y Néstor Paladino
Av. Juan B. Alberdi 436
Patricia Segovia y Faustino Blanco
Sarmiento 4006
Lic. Claudia Bozzo San José 364, p. 3º “A”
María Telma Polcan Cabello 3958
Natacha Iglesias
Sarmiento 4006
E+Prá
EI+EA
E
EP
E
E
EI
E
EI+EA
E
E
E+Prá
E
EI
E
E
66 B.A.TANGO
4306-5800/4328-7750
4964-2015/2071
15-4084-0332
4383-0466
15-5325-1630
2063-9671
4964-0324/15-5424-2847
15-5738-3850
4953-1212
4863-0463/15-4033-0242
4629-3085/15-3246-8482
4581-7290/15-3638-8256
15-5325-1630
4383-0466
4863-0185
15-5325-1630
Marzo a Junio 2014
B.A.TANGO 67
Buenos Aires Tango