De tardecita · La que murio en Paris · Tabernero Ay, de mi · Cantando · Acquaforte · Alla en el bajo · Por un cariño · Margarita · Los cosos de al lao · Nuestra cita · Organito · Pa Dumesnil · Se va la vida · Serenata del 900
Int. Release 01 Apr. 2005
CD DDD 0289 477 5121 2 GH
"Every once in a while, a new voice comes along that knocks you sideways." BBC Music Magazine
"Repetto's is a nasal, high-pitched singing style, exuding by turns macho swagger, wise-guy sarcasm and gushing sentiment . . . Repetto is admirably daring, exploring an obscure but inspired repertoire and gliding between moods with panache . . . this exciting debut is produced by multi-award-winning Gustavo Santaolalla, with whom Repetto had already worked as a member of the Bajofondo Tangoclub electronica collective. This time round, though, the young crooner is centre stage -- and in his element . . . with such natural talent and DG managing this release, Repetto is destined to become the leader of the faithful in Argentina and beyond."
Record Review /
Songlines (London) / 01. May 2005
. . . this 25-year-old Argentinean's style really is like nobody else -- instantly recognisable and addictive . . . Utterly sublime.
Record Review /
BBC Music Magazine (London) / 01. August 2005
Wie immer faszinierend und einzigartig . . . Er und sein hervorragendes Begleitensemble bescheren ein Klangerlebnis, das den Zuhörer zurückversetzt in die Blütezeit des Tango.
Record Review /
Ecos (Munich) / 01. February 2006
Cristóbal Repetto ist der neue Stern am Tango Firmament. In Argentinien ist der Mann mit der nasalen, an alte Aufnahmen der Tango-Ikone Carlos Gardel erinnernden Stimme längst ein Star.
Record Review /
Neue Zürcher Zeitung / 16. February 2006
Da meint man tatsächlich, er habe Schellack in der Kehle: Cristóbal Repetto singt so nostalgisch echt im Vintage-Stil eines Carlos Gardel -- der argentinischen Tangolegende schlechthin -- dass man sich fragt, ob er nicht eine Reinkarnation des großen Gardel selbst ist. Stars wie Cristina Branco haben in den letzten Jahren bei uns den Fado populär gemacht, Repetto ist auf dem besten Wege, dies für den Tango zu tun.
Record Review /
Jens Peter Launert,
Der Musikmarkt (Starnberg) / 03. March 2006
Auch in die zwanziger Jahre zurück reicht das Repertoire des jungen Argentiniers Cristóbal Repetto, der auf seinem Debüt für einen Nicht-Connaisseur wie mich klingt wie ein Hans Moser des Tango -- was hier wie ein Bonmot klingt, soll durchaus eine Empfehlung sein, bricht sich doch dadurch das Tango-Klischee ganz wunderbar und ermöglicht frisches Hören.
Record Review /
Süddeutsche Zeitung / 22. March 2006
About the Tracks
A tango magazine once described the text of this song by saying that “the protagonist seems to be in an advanced state of delirium tremens". Originally it was a poem by the author Raúl Costa Olivieri, written in 1919 and entitled “La canción del borracho" (“The Drunkard's Song"). The well-known singer, songwriter and composer Miguel Cafre turned it into the tango “El tabernero". The violinist Fausto Frontera was responsible for the harmonization.
AY, DE MI
The vast, silent expanse of the pampa is evoked in a sad Creole lyric from the pen of the great Homero Manzi. This song of the outdoors was sung by Ignacio Corsini
in the film Fortín alto, written by Manzi and Ulises Petit de Murat, and directed by Moglia Barth.
The great singer Mercedes Simone was deservedly called “The First Lady of the Tango". In 1933, when she'd already reached the top, she and other leading lights of the genre came together to perform in Tango, the first Argentine sound film. In it she sang “Cantando", which she wrote herself, and instantly turned the song into a classic. She had recorded it for the first time on 13 August 1931.
With its clear social message, this was among the first “protest tangos". Carlos Marambio Catán wrote the lyrics in Italy under the influence of a visit to the Milan cabaret Excelsior, describing the scene on that night. “Acquaforte" was banned by the censors, who considered it an anarchist song, and was eventually published only with difficulty.
ALLÀ EN EL BAJO
The subject of this tango, one that crops up frequently in the repertoire of its day, is a duel between two rivals for the love of a woman. It was the first great success for the celebrated duo of Magaldi-Noda, who introduced it in 1926 during the first season of the Teatro Cine Real, located at the “tango corner" of Corrientes and Esmeralda in Buenos Aires. Agustín Magaldi recorded it on 15 June 1926.
POR UN CARINO
“I got to know this song through the version made by the unforgettable Carlos Gardel. From the moment I first heard it I wanted to record it. It was composed by Demon and Alcázar, distinguished figures in Spain's musical and theatrical circles. Here it is, then, the same song, in a different treatment, with a different "look", perhaps more intimate, reverting to the accompaniment of a solo guitar, with the magical, incomparable sound of Javier Casalla's violin."
This simple and delicate piece was written by the pianist Moreno González, one of Paraguay's most important and representative composers. It won the Prize of Honour at the sixth National Record Competition, organized by the Max Glücksman company in 1929. The lyrics are by the western Argentine poet and author Coria Peñaloza.
LOS COSOS DEL AL LAO'
“A tribute to Luisito Cardei, one of my main influences, who, together with his friend and bandoneonist Antonio Pisano, left us an unforgettable version of this tango. With Cacho Acuña on bandoneón I've tried to evoke the intimate, nostalgic spirit that Luis brought to each of his interpretations, and so in homage to him we've recorded this piece composed by Marcos Larrosa and the well-known guitarist José Canet."
One of the most captivating pieces in the wide repertoire of the legendary Azucena Maizani, nicknamed “La Ñata Gaucha", who recorded this tango on 8 January 1942, accompanied by Francisco Trópoli on piano and the Del Puerto brothers on guitars.
An evocative and nostalgic tango dedicated to the organito, the first mechanical device for reproducing music to become known in Buenos Aires. Since the tango began it has been used to perform this music on the streets.
Nelly Omar represents one of the most genuine expressions of Argentine traditional song, recognizing it as a happy synthesis of Creole, or rural, music and the urban and/or suburban tango. She recorded this milonga, with verses by Aníbal Cufré, on 27 May 1955, accompanied by the guitar ensemble of Roberto Grela. Since then there have been few other versions of it. “A tribute full of admiration and respect for Nelly, and the pleasure of being able to record with two dear friends like Don Angel Mele, exponent of the décima espinela, a popular Latin American poetic tradition, and Federico Calleja, with whom I shared so many asados y guitarreadas (evenings of barbecue and guitar playing) in my beloved town of Maipú."
SE VA LA VIDA
María Luisa Carnelli was a journalist who also wrote interesting popular lyrics. She cultivated a rich, authentic lunfardo (Buenos Aires slang), with details of acute observation. Under the pseudonyms Luis Mario and Mario Castro (her son's name) her works became well-known, set to music by important composers around 1930. In 1929 she wrote this tango in collaboration with the legendary violinist, orchestra director and composer Edgardo Donata, who signed the work jointly with his orchestra partner, Roberto Zerrillo.
SERENATA DEL 900
“By including this song, all I'm doing is remaining faithful to what my life has been
all about for these 24 years: listening and listening. I grew up listening to music of every genre. From an early age, I was shown a vast musical landscape by my parents, popular music of Argentina and of the world. There were no barriers, no preconceived notions.
In my family's large discography, there were albums by Mercedes Sosa,Tita Merello, Jorge Cafrune,Violeta Parra and Yupanqui. Later on, León Gieco, Fito and Spinetta arrived and, with them, my first songs. Then came
the candombes, Caetano and my first bands. And eventually Corsini, Magaldi, the songstresses and “Polaco" Goyeneche. Today it continues to be the music that gets me going, and that's how I came across an album by Lilian Herrero. It was in her voice that, deeply moved, I listened to 'Serenata del 900' for the first time. I've included the song in my repertoire and recorded it for this album."
This lovely period painting manages to capture the spirit of the arrabal (poor suburbs) and furnishes a good example of the characteristic pulse marked by guitars accompanying the earliest tango singers. Composed by the impresario-musician Nicolás Messutti,
it took first prize in the first National Record Competition organized in 1927 in Montevideo by the Max Glücksman company.