Alberto Vaccarezza.

Bartolomé Ángel Venancio Alberto Vaccarezza (1886–1959) was an Argentine poet and playwright.

Vaccarezza was born in Buenos Aires on April 1, 1886. He is usually credited as the foremost exponent of the sainete genre, having written its most popular play, El Conventillo de La Paloma (The La Paloma Tenement). He was a friend and collaborator of Carlos Gardel, and pronounced his eulogy when Gardel was interred at La Chacarita Cemetery.

Besides his literary activities, he presided over Argentores (the national playwright guild) and Casa del Teatro (House of Theater, a beneficent organization that hosts impoverished retired actors).

He died in Buenos Aires, on August 6, 1959.

Works[link]

Sainete[link]

• Cuando un pobre se divierte
• El conventillo de La Paloma¡¡
• Tu cuna fue un conventillo
• La comparsa se despide (1932)
• Los scruchantes (1911)
• El juzgado (1903, his first play)

Poetry - Tango Lyrics[link]

• La copa del olvido
• Araca, corazón
• Otario que andás penando
• Eche otra copa pulpero
• No me tires con la tapa de la olla
• Pobre gringo
• Virgencita del Talar

Film Scripts[link]

• El conventillo de La Paloma (1936)
• Lo que le pasó a Reynoso (1937 y 1955)
• Viento norte (1937)
• Murió el sargento Laprida (1937)
• El cabo Rivero (1938)
• Pampa y cielo (1938)
• El comisario de Tranco Largo (1942)
• Sendas cruzadas (1942)

External links[link]

• Short Biography (English)
• Biography (Spanish)
• Vacarezza at Info-Almagro (Spanish)
• Alberto Vaccarezza at the Internet Movie Database

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Francisco Canaro
Francisco Canaro
Background information
Birth name	Francisco Canarozzo
Born	(1888-11-26)November 26, 1888 Uruguay
Died	December 14, 1964(1964-12-14) (aged 76) Argentina
Genres	tango
Occupations	Musician, orchestra leader
Instruments	Violin

Francisco Canaro (November 26, 1888 – December 14, 1964) was an Uruguayan-Argentine violinist and tango orchestra leader.

His parents, Italians emigrated to Uruguay, and later - when Francisco Canaro was less than 10 years old, they emigrated to Buenos Aires (Argentina) in the late nineteenth century. Canaro was born in San José de Mayo, Uruguay, in 1888. As a young man and found work in a factory, where an empty oil can would, in his skilled hands, become his first violin. Performing in seedy bars initially, he ultimately forged a career that spanned many decades, and his orchestra was one of the most recorded. His introduction to the tango came by orquesta típica leader Vicente Greco in 1908, and in 1912, he composed Pinta brava (Fierce Look). Canaro composed the music for the 1915 Argentine classic, Nobleza gaucha, and later was romantically attached to Argentine actress and tango vocalist Ada Falcón, but the relationship, which began in the early 1920s, grew apart a decade later.

Canaro and his orchestra, c.1930.

Canaro was active in the cause of intellectual property rights from 1918 onwards, and was instrumental in the establishment of the Argentine Society of Composers and Songwriters (SADAIC), in 1935, purchasing the downtown Buenos Aires lot where its headquarters were built. He performed in Paris with his orchestra in 1925, and a success among local audiences, he remained in Europe for a decade. Becoming a naturalized Argentine citizen in 1940, much of his recorded music is in the classic salon style of that decade, but he is also considered a member of the old guard, and some of his later recordings contributed to the transition to concert tango.

His orchestra became a fixture on Argentine radio during the 1940s and early '50s, though for many contemporary dancers and listeners, his early golden age recordings remained the best in their genre. Canaro authored his memoirs, Mis 50 años con el tango (My Fifty Years with the Tango) in 1956, but later developed Paget's disease, and was forced to retire. He died in Buenos Aires in 1964.

External links[link]

• Biography of Francisco Canaro. Todo Tango
• Discography of Francisco Canaro (english)
• Discografía de Francisco Canaro (spanish)
• Francisco Canaro - tracks, statistics tango.info
• Francisco Canaro at the Internet Movie Database

v t e Cinema of Argentina Actors Awards Composers Directors Editors Films A–Z Cinematographers Festivals Producers Screenwriters Mar del Plata Film Festival Films by year: 1897–1929 1930s 1940 1941 1942 1943 1944 1945 1946 1947 1948 1949 1950 1951 1952 1953 1954 1955 1956 1957 1958 1959 1960 1961 1962 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012

Alberto Gómez may refer to:

• Alberto Gómez (Argentine footballer)
• Alberto Gómez (Cuban footballer)
• Alberto Gómez (Uruguayan footballer)

This disambiguation page lists articles about people with the same name. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Ignacio Corsini
Ignacio Corsini
Background information
Born	(1891-02-13)February 13, 1891
Origin	Italy
Died	July 26, 1967(1967-07-26) (aged 76)
Genres	Argentine folklore and tango

Ignacio Corsini (February 13, 1891 – July 26, 1967) was a well-known Argentine folklore and tango vocalist.

Life and work[link]

Andrés Ignacio Corsini was born in Troina, a village in the Enna Province of Sicily, in 1891. He was the illegitimate son of Socorro Salomone and a local man whose identity was never revealed publicly—save for his being a Corsini (hence the child's last name). Ms. Salomone left Italy for Buenos Aires, in 1896, and settled in the middle-class Almagro section of the city. They settled in Carlos Tejedor, then a small pampas town where Corsini would spend the remainder of his childhood, finding work as an ox cart driver and herdsman.^[1]

Corsini returned in 1907 to the Almagro section of Buenos Aires, where he was influenced by folk singer José Betinotti and a circus performer, José Pacheco. Pacheco introduced him to the theatre and to his own daughter, Victoria Pacheco, whom Corsini would marry in 1911. He went on to perform in numerous theatre companies and circuses, and in 1912, he was awarded a recording contract by RCA Victor. His interpretation of traditional folklore standards earned him singing roles in numerous Argentine films in subsequent years, mostly in period pieces set during Argentina's pastoral 19th century. These included: Santos Vega (1916), ¡Federación o muerte! (1917) and Milonguita (1922).^[1]

Having never attended a music conservatory, Corsini once attributed his unmistakable falsetto to his bucolic pampas upbringing, recalling that "birds taught me the spontaneity of their singing, without witnesses and in the great scenery of nature." ^[1]

Corsini also earned renown as a tango vocalist, however. Initially avoiding the genre, he included one tango piece, "Un lamento," in a 1920 album. Well received, this recording would remain his sole foray into tango until, in 1922, he was persuaded to premiere "Patotero sentimental" in a sainete (stage comedy), "El bailarín del cabaret." Corsini secured his standing in the world of tango by popularizing Juan de Dios Filiberto's soulful milonga, "Caminito," in 1927. Written as an ode to what was then an oft-used shortcut in the blue-collar La Boca section of Buenos Aires, "Caminito" remains one of the most recognizable Argentine songs of any genre.^[1]

"El Caballero Cantor"—the "gentleman singer," as he was known by then—Corsini was also a composer and lyricist of numerous tangos, such as, among others, "Flor marchita," and "Aquel cantor de mi pueblo" (music by guitarist Enrique Maciel). The latter was immortalized by Corsini's one-time film co-star, Edmundo Rivero. He also composed in other genres, writing folklore pieces (such as "Tradición gaucha" and "A mi palomita"), and a waltz: "Tristeza criolla," based on a poem by Julián de Charras.

A 1929 songbook written as an ode to the era of 19th century strongman Juan Manuel de Rosas by poet Héctor Blomberg and guitarist Enrique Maciel featured Corsini as the lead vocalist, a performance considered by critics to have been th highlight of the album.^[2] His performance of the album's title track, "La pulpera de Santa Lucía," was critical to its being aired on the radio. This return to folklore was followed by similar performances on film, including Rapsodia gaucha (1932), Ídolos de la radio (1934, memorable also for a duet between two standards of tango, Ada Falcón and Carlos Gardel), and the western movie-styled Fortín alto (1941), where he was featured with Agustín Irusta and a then-unknown Edmundo Rivero.^[1]

These successes were dealt a bitter turn by the death of his wife Victoria, on May 28, 1949, following which he retired as a performer. Corsini penned his memoirs the following year, in which he wrote that "in her I found the great partner of all my life, who encouraged me in my uncertain hours and to whom I owe a great part of my success" (the autobiography was never published).^[1]

Corsini reappeared in 1961 for a Channel 7 special, "Volver a vivir" ("To Live Again"). This would be his last public performance, however, and on July 26, 1967, the 'gentleman singer' died at age 76.

References[link]

Julio Sosa

Julio María Sosa Venturini (February 2, 1926 – November 26, 1964), usually referred to simply as Julio Sosa or El Varón del Tango, was an Uruguayan tango singer.

Sosa was born in Las Piedras, a Canelones Department suburb of Montevideo, Uruguay. He moved to Buenos Aires, Argentina, in 1949, where he became famous with the Orquesta Francini-Pontier the Orquesta típica formed by the violinist Enrique Mario Francini and the bandoneonist Armando Pontier . Working with numerous other orchestras, he was reunited with Pontier in 1955, with whom he recorded several best-selling albums on the RCA Victor and Columbia labels and became one of the most important tango singers in the genre's history.^[1]

He married Nora Ulfed in 1958 and had a daughter. His marriage ended in separation, however, and he settled into a relationship with Susana Merighi. Nicknamed El Varón del Tango ("the man's man of tango"), Sosa also published a book of poetry, Dos horas antes del alba ("Two Hours Before the Dawn"), in 1960. Following his switch to Columbia Records in 1961, the Pontier orchestra incorporated a new bandoneonist, Leopoldo Federico, and the association helped make the group the most successful in its genre, at the time.^[1]

Sosa's fame acquainted him with sports cars as well. He had numerous accidents during the early 1960s, mostly as a result of speeding. He was behind the wheel of a DKW coupé when, in the early hours of November 25, 1964, he crashed into a roadside hazard light on Buenos Aires' Figueroa Alcorta Avenue, killing him instantly at age 38.^[1]

References[link]

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