No other figure of tango attracted a comparable interest, none resulted in so many thorough investigations. Nevertheless (or perhaps because of it) or affiliation data Carlos Gardel and the circumstances surrounding his gruesome death seem out of discussions. And each episode in a heroic life undoubtedly -in the Aristotelian conception of the hero in the collective memory appears patina by crossing fictional effective data licenses, and testimonies echo-often less reliable, and building intermediados- such absolute ideal, sometimes even appeals to the genuine artistic formidable attributes, which originated in his feverish exaltation of the idol.
Biographers as the British Simon Collier, author of a sobriety modélica- or Julian and Osvaldo Barsky, whose monumental encyclopedia appeared in 2004, among other scholars, contributed to “weed” the story
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A plaque on the Saint Joseph hospital in the Grave, the French city of Toulouse recalls the birth of Charles Romuald Gardes in the ‘Ville Rose “, on December 11, 1890. Berthe Gardes and young son Charles, which would be the result of a formalized relationship with Paul Lasserre- never arrived in Buenos Aires in 1893 and settled on a piece of tenement on Calle Uruguay 162, near the workshop where Berthe start working as laundress, and pension Corrientes 1553 which would move later. The proximity of the theaters, where little Carlitos used to go to deliver ironed clothes earned him early familiarity with the art world, which increased as a member of the claque the picturesque Luis “Patasanta” Ghiglione, your passport to the world of zarzuela and opera.
Carlitos gains fame singing in the neighborhood, is heard on the street, another major poles of attraction. From 1905-1910, his trail is lost in fragmented or nonexistent data. On the eve of the Centennial Cafe O’Rondeman pays their interpretations with good Creole food dishes and succulent tips, obtained by a “raffle to benefit the singer” which promotes the local owner and protector, “Gigio” Traverso, who is also their connection with the political committees.
You dropped anchor in the Abasto, scene of his decisive encounter with José Razzano. The “bumped” produced in 1911, in a house on the street Old Guard: the eastern sings a number, Among colors , and a style Gardel, Dream . The Gardel-Razzano duo was formally created in late 1913, when it debuted in the Armenonville. Gardel had recorded discs-a handful of styles accompanied by his own guitar-and remained an undisciplined boy, suggests the request made by his mother in police station: “As from Sunday he went to the races has not come home calls to this office to find out if it has happened an accident or if you were in prison. “
During the years that followed, the duo showed off their native songs in Buenos Aires venues and tours. In August 1915, aboard the ship Santa Isabel, heading to Brazil they coincided with the famous Italian tenor Enrico Caruso, who heard her sing and noticed “the beautiful Morettino voce” (the morochito). Some years later, Gardel began to take classical singing lessons with Eduardo Bonessi, who remembered the “intelligent and docile, so students did not take much out your true voice, a baritone bright, unusual, especially as Ring and temperament. ” The teacher was prescribed an inhalant Razzano, “the inhalant Bonessi registered with the Ministry of Public Health,” which Gardel also began using and protesting to promptly replenished. “Master, give me the Pope”
More a turning point in the career of the singer, his recording of the tango My sad night , accompanied by guitarist José Ricardo, is the founding gesture of a whole genre. With the verses of Pascual Contursi about music by Samuel Castriota, Gardel opens the tango-song sentimental character we know today, as opposed to the tradition of rogue Creole tango.
Run 1917 is also the year of the first recordings of Gardel-Razzano, but it is inexorable and the end of an era, which somehow the duo will continue to belong as residual expression, while the soloist Gardel projected a style and repertoire that increasingly dominate more tangos though never leave the folk song -.
After the dissolution of the duo in 1925, Razzano remains a good time in an environment where they circulate in different periods, and among others, guitarists Guillermo Barbieri, José María “Indian” Aguilar, Angel Domingo Riverol, Horacio Pettorossi; girlfriend, Isabel del Valle; Armando Define, his henchman. Razzano’s role as chronicler of Atlantis Magazine (April 24, 1930): “Gardel, the good, is a large (…) The child is a prelude to Gardel Razzano because Gardel is a child and need nanny .. . “
On an artistic level, talent Gardel does not require or support tutorials: not only determines its own course, but also carries with it the whole era, which is anticipated systematically . Detects the newly inspired Celedonio Flores and Enrique Cadícamo; plays an important role in disseminating Discépolo; is “the Magician” that transforms everything it touches. A radio and live performances, short film with an amazing view in a series of video clips avant la lettre directed by Eduardo Morera in 1930.
It was “the Creole vedette “that had debuted in Paris Females with effusive praise of Figaro (” exerts on the public a kind of enchantment “, October 2, 1928). He returned to France in 1931 and signed a contract with Paramount to shoot at Joinville. This stage is the film Luces de Buenos Aires: The Buenos Aires public projection forced to stop, rewind and repeat several times the scene in which Gardel sings Tomo and forced
. Paramount executives foster collaboration with Alfredo Le Pera, born in Sao Paulo but raised in San Juan and Boedo, former medical student, former journalist and playwright. Gardel shared with Le Pera, as screenwriter difficulties of filming movies tango-themed atmosphere and outside (Joinville, New York) and febrile task of writing songs between takes, the latter with an unbeatable result: Back , The day that you love me , Soledad , Downhill , On a head , Far my land , Her eyes closed , Golondrinas and more.
The National Broadcasting Corporation (NBC) in New York where he debuted in New Year 1934 it is the final continental shelf. It works with orchestra in a series of broadcasts which extend to May, and includes an extraordinary program: March 5 sings from New York, with its accompanying guitarists from studies LS5 Radio Rivadavia. Then starts filming in Long Island Downhill . The pianist Alberto Castilian, musical director of that movie and Tango in Broadway said: “In my life I forget that hell” and said he had only eight days to shoot each production amid discussions between Le Pera and the director Louis Gasnier. The prospect of Le Pera, after four shootings in Long Island: “I wish to Carlos, whom I well and who firmly believe, one thing that never again make films in Spanish outside the Argentina …” ( Adolfo R. Avilés letter, dated 1935).
What are your plans then had Carlos? Everything indicates that evaluated several possible scenarios. But Dona Berta, in a letter dated February 1935, ensures that you will meet “someday not too distant, not separate us again, and think only of our good ‘piacheres’ in the company of good friends, like two travelers who come to port of destination, after having struggled through life “.
On June 24, 1935, about three in the afternoon, in the Olaya Herrera airport in Medellin, the plane carrying the singer and his entourage to Cali was engulfed in flames after crashing amid takeoffs, against another ship that left its hangar
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