Tango y Cultura Popular ® English Edition TyCP Special | Page 13

his poem “Cita a medianoche”
in these lines: Juan Polito with his name’s
Orchestra in 1932.
Wrapped in a cloud of
voluptuous chiffon
Ritana crossed the cheerful
room of the Chantecler,
while Gardel peeks out with his
frothy glass
of cliquot, in the box of thin and
red velvet.
Madame Ritana was one of
Carlos Gardel’s many lovers,
and was possibly the most
conflicted one, because of
the fact that she was a very
powerful woman, but she was
also married. This brought
serious problems to Gardel,
and in relation to some issues
occurred in 1915, it almost
compromised his life. The typical orchestra of master
Joaquín Do Reyes, in 1935,
one of the biggest entertainers,
played, for a long time a tango
he had written, but didn’t have
a title. The poet Celedonio
Flores, also a regular visitor,
acknowledging Do Reyes,
versified it and it was baptized
under the name Yo no sé llorar
(I do not know how to cry). The
name suggestion is awarded
to Pepita Avellaneda, a famous
popular singer who saw the
Guardia Vieja’s dawning, acting
in cafés and Tango places of
the time. She worked as a
check-room attendant until the
building’s demolition.
The artistic quality of the acts
performed at the cabaret was
always based on the attendees’
requirements, characterized
by their refined tastes. Much
remarkable show business,
music figures and variety actors
of those times walked through
that stage. Among its regular
visitors, there were politicians,
academics, artists, and tourists,
who were practically obliged
to go and visit the Chantecler.
Oscar Alemán, who played on
Pablo Palito’s Company, was
one of the most outstanding
performers, and probably
he has been the greatest
showman this country had ever
had, for his ability to multiply
on stage, alternating his show
with different instruments,
playing cavaquinho, ukulele,
guitar, and singing in different
languages: French, Portuguese
or Spanish. Antonio Bonavena presented
his orchestra in 1938, where
Roberto Rufino, a 16-year-
old singer made his first
appearance, who would
sometime later, come back
to the stage with the master
Carlos Di Sarli.
In 1941 Miguel Zabala’s
(Zabalita) orchestra, with
Domingo Rullo, one of the
bandoneón’s greatest players.
The legendary Agustín Irusta,
was also a figure of this
memorable stage.
Margarita Silvestre (Luisa
Russo) a soloist singer who
played largely around the
country.
Master Héctor Varela, in 1950
introduced Rodolfo Lesica as
a permanent singer, along
with Armando Laborde; later
in 1952 he would be replaced
by Argentino Ledesma.
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The name
suggestion
is awarded
to Pepita
Avellaneda,
a famous
popular singer
who saw the
Guardia Vieja’s
dawning, acting
in cafés and
Tango places
of the time.
She worked as
a check-room
attendant until
the building’s
demolition.