Periódico Casco Antiguo News EDICIÓN 24 · JULIO - AGOSTO · 2018 | Page 17

PERSONAJE
EDICIÓN 24 · 2018
Locals welcomed him with
kisses, hugs, flowers, and noto-
rious excitement. Tropical Mov-
ie Theater announced his shows
from August 25th to September
2nd, between 5:00, 7:15, and 9:15
pm. He also went give some love
to Teatro Colón during August 29
and 30.
He brought his own music
group which consisted of Gassao
and Vilá on the guitars, Tito Rive-
ro on the piano, Ana Maria Lynch
on the backup vocals –they were
together in 3 movies-, lead dancer
from Teatro Colón in Buenos Aires
Pedro Flórez, and the folk singers
Jiménez & Puccio.
Canosa enterprise was respon-
sible for Hugo’s team care and
performance organization.
Each concert was one of a
kind: even children went with or
without their parents to watch and
enjoy Hugo’s shows. Every one of
them finished with a movie.
By the end of his stay in our
country, on August 27, it was an-
nounced that he “dedicates this
night to hand autographs and
photos to his fans, as a souvenir
of his time in Panama”. After that,
he traveled to Bogotá.
There, according to Eduar-
do Charpentier de Castro, Hugo
del Carril sang his most popular
songs: Te vi partir (1937), Me besó
y se fue (first album, 1936), Indif-
erencia, Malditos celos, Arruyito,
Vieja amiga, and El adiós (1938),
Mano a mano, La copa del olvido,
Nubes de humo, and Yira (1939),
some songs from 1940-1941 like
El vino triste, La mariposa, Clavel
del aire, Igual que ayer, Bettino-
ti, Con toda la voz que tengo, Yo
también, and Secreto.
Again, a crowd went to his
farewell on September 3. He went
to Bogotá. He had already finished
two films and was working on the
last one: La canción de los barri-
os, En la luz de una Estrella, and
Cuando canta el corazón. It was
the golden age of Patagonian
films.
Hugo definitely brought the
tango to Panama, and now it’s
here to stay.
must take into consideration the
people who have been following
them since the very beginning, that
is, the people who listen to them and
their message”, Del Carril said.
Hugo supported Peron’s move-
ment, and he participated with
Enrique Santos Discépolo, a re-
nowned tango composer, in the fa-
mous march in Plaza de Mayo on
October 17, 1945.
By 1946-1952, Juan Domingo
Perón was President of Argentina,
giving a new chance to low-class
people.
Hugo del Carril was prosecut-
ed, incarcerated and exiled, but he
never betrayed or apologized for
following Peron’s movement. He
never stopped singing: he actually
recorded more than 250 unforget-
table songs.
He went from actor to director
in the film industry in 1949. His
first movie was Historia del 900,
and the last one, Yo mate a Facun-
do, (1975). His last performance
as an actor was in No habrá más
pena ni olvido, directed by Héctor
Olivera, in 1983.
Hugo passed away on August
13, 1989, and from Argentina, he
showed all his support to both Pan-
ama, which was being attacked by
foreign terrorism, and the humble
citizens from Colón and Panama
City.
YEARS LATER
“I’m convinced that artists
must speak their voice politically,
especially if they represent popu-
lar genres, like the film industry,
TV, radio, and logically, theater.
Because if they are not by the peo-
ple’s side, who then? When artists
reach a specific level of fame, they
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