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Part Two Premieres at the Apollo Theater the play "The cabaret dancer" on May 12, 1922

Ignacio Corsini makes a figment of his performance of "The bully sentimental", and so secured as singer and heartthrob future great interpreter of popular music

ran from 1922 and Corsini had not yet moved into his house at Otamendi 676, located at Centennial Park.

El Caballero Cantor and his family lived at that time in a family house located in the so calle Corrientes "narrow" in 1318, between Talcahuano and Uruguay, in the suburb of San Nicolas, in same path of the Apollo Theater. Those were the days when the street was far from ordinary broad avenue that is now, but without prejudice to this, flourished and proliferated theaters that made it legendary cabarets and reflect how well they knew the lyrics of the tangos in vogue at that first half of the twenties.

This family home was a tenancy which abounded in those days in the city of Buenos Aires and, for better or worse could solve the housing problems who could not afford to have their own. In those 20 years, these tenements were occupied by workers and employees (alone or with their families), and also by artists, writers, journalists, actors, poets and musicians who were struggling with their art. There

recalls Dr. Ignacio Corsini (h)-who at that time then had 11 years of age, "lived among other actress Tita Merello, who at that time was a young girl of 17 years.
evokes
So Caballero Cantor's son: "Tita, a teenager, was a beautiful brunette ... often used to take me out ...". Tita Merello

died in Buenos Aires on December 24, 2002, in room No. 924 on the ninth floor of the Favaloro Foundation. The next day, the funeral cortege drove his remains were stopped minutes in Favaloro Foundation and then back again one last stop in Avenida Corrientes 1300, remembering the place where the actress had been in their teens.

Today, a monolith placed in front of the numbering of the Avenida Corrientes 1318, remembers the tenancy where Tita spent those early teen years, and although the historical reference makes no mention of the passing of Ignacio Corsini for that house, from these pages also included in the tribute. Then it is worth remembering these two great figures of popular culture in Argentina, which once knew match during its times of struggle, the humility of the tenancy.


Apollo Theater

The history of the Apollo Theater, like the history of many city's theaters, a story of contrasts. On the one hand the brilliance and splendor of its best moments, filled rooms, the great personalities of the National Theatre in endless procession, and the other the slow decline, the shadows and the final demolition. A sad commonplace for many of our most cherished theaters, through which night after night the theater and the history of popular entertainment, and disappeared Politeama, the Odeon and many others. In this case, fortunately, the Apollo Unlike those, because after its demolition was promptly rebuilt and is now running with his original name and prestige.

Doing a bit of history, the Apollo Theater was originally opened on March 21, 1892, and the family for decades Podesta knew how to shine your stage with sketches and works of popular genre.
At the opening night, which coincided with the start of the fall of 1892, however there was a benefit performance for the Ladies of Charity, where the program included: 1 Symphony, 2 ° The comedy in three acts " Divorciémonos "3 ° The Toy comic one-act Quail."

That same year, 1892 is the year of his presidential term concludes Dr. Carlos Pellegrini, after having taken over the resignation of Miguel Juarez Celman in 1890. After the triumph of the formula "Luis Saenz Peña José Evaristo Uriburu", Carlos Pellegrini leaves office on 12 October. The resignation of President Juarez Celman, comes a week after the surrender of the Revolution Park (revolution 90), being its immediate political consequences. The emergence of civil society and income urban middle class into political life, was his social consequence. Celman Juarez also was forced to resign by the crumbling financial situation it was in the country, the result of excessive public spending, real estate speculation and financial, public works concession to those in your inner circle, and a high inflation. This led to social protests, culminating in the Revolution of the Park. Excessive concentration of power in his person and his officers, his government won him the name "Unicat." Returning to

Apollo Theater, it is still standing until its demolition in 1960 until mid-July 1966, was rebuilt when the Company "New Theatre - Cooperative Work", founded by Pedro Pasquini and Alejandra Boero, began his season in the hall and took over its management until 1971. This company was built by none other than actors such as Hector Alterio, Rubens Correa, Norberto Pagani, Lucrecia Capello, Jorge Hacker and Enrique Pinti.
Subsequently, the late 70's, the Board changed its name to Theatre Lorange "then as a theater and cinema alike, until the 90's.

After being closed for a few years, the July 27, 2009, is reopened for the second time, now with its original name, and begins its new phase as of August 5, 2009, with the premiere of "King Lear "starring Alfredo Alcon.


The Cabaret Dancer

In 1921, Ignacio Corsini is hired by Julius Traversa to integrate César Ratti troupe, at the Apollo Theater. While previous seasons of his career as an actor, Caballero Cantor had acted sporadically in this room is from the introduction to this company that its presence at the Apollo, begins to be almost permanent. Be presented in future in the theater as part of various companies until 1926. In 1927 the company will Luis Arata the Comedy Theatre, Teatro Lola Menbrives now located Avenida Corrientes 1280, just 100 meters from the Apollo.
El Caballero Cantor
account in 1921 with 30 years of age and stands as a handsome and gallant and great singer of our things. Tall, blond, with excellent diction and slender figure, joins the cast of the company (in its various denominations) characters embody a large amount of work during the seasons 1921 and 1922, according to the following chronology presentence below.


1921 - White Company Podesta, Ratti and Julio Cesar Traversa:

- "The Condors nest" Alberto Weisbach. Premiered at the Apollo Theatre on 3 March 1921,
- "At 9 in the convent of Ballestero and Schaefer Gallo. Premiered at the Apollo Theatre on 31 March 1921.
- "The race of the Uruguayan" (A student life) of Peter Benjamin Aquino. Premiered at the Apollo Theatre on 5 April 1921.
- "The cave of owls, and Atilio Eduardo Trong Cattaneo. Premiered at the Apollo Theatre on 1 June 1921.
- "From door to door" of smoke Dowton and Mones Ruiz. Premiered at the Teatro Apollo, 14 June 1921.
- "Black and go seven," E. Geminiani. Premiered at the Teatro Apollo, 25 June 1921.
- "And the dog died," Peter Benjamin Aquino. Premiered at the Teatro Apollo, July 7, 1921.
- "And Bunting, colorao" by F. Collazo and T. Insausti. Premiered at the Teatro Apollo, 23 July 1921.
- "Passion" by J. Luque Lobos. Premiered at the Apollo Theater on August 5, 1921. In this work sings a Payada Ignacio Corsini.
- "Who is to blame," Joseph P. Alvarez and A. Gonzalez Revilla. Premiered at the Teatro Apollo, August 18, 1921.
- "boxing champion" by Florencio Parravinici. Premiered at the Teatro Apollo, August 25, 1921.
- "Mephistopheles" by Alberto Ballestero. Premiered at the Teatro Apollo, September 8, 1921.
- "Mother" by Enzo Aloisi and Michael Lacreu. Premiered at the Teatro Apollo, 20 September 1921.
- "A Journey to Hell" by Charles Schaefer Gallo. Premiered at the Teatro Apollo, October 8, 1921.
- "Write me a letter priest" by Ballestero and Parra. Released on November 8, 1921.

1922 - Cesar Ratti Company:

- "Able to tame a horse" Alberto Ballestero. Premiered at the Teatro Apollo, 15 March 1922.
- "Corrida de bullfighters V. And A. Pecci Bassi. Premiered at the Teatro Apollo, April 18, 1922.
- "Man of the day," Ossorio and Insausti. Premiered at the Teatro Apollo, April 25, 1922.
- "The dancer Cabaret "by Manuel Romero. Premiered at the Teatro Apollo, 12 May 1922. In this work opens Ignacio Corsini tango" The emotional bully "by Manuel Jovés and Manuel Romero, becoming one of the events of that 1922. Recorded by Ignacio Corsini and Carlos Gardel that year.
- "The arrival of Charrúa", Benjamin Peter Aquino. Premiered at the Teatro Apollo, 19 May 1922.
- "Cafe Marseilles" by Francisco Collazo. Premiered at the Teatro Apollo, 28 August 1922. In this book Ignacio Corsini, singing the tango "The kiss of death," Perez Freire and Viergol.
- "The fixed" , Julio F. Escobar. Released at the Apollo Theatre on 29 September 1922.
- "A paris boys" by M. Flores and L. Shawty. Premiered at the Teatro Apollo, 13 October 1922.
- "Ali Baba and the 40 Thieves" by Ivo Pelay. Premiered at the Teatro Apollo, 15 November 1922.
- "Johnny and Johnny" by Armando Mook. Premiered at the Teatro Apollo, 13 December 1922.

On May 12, 1922, then opens at the Apollo Theater, the play "The cabaret dancer, Manuel Romero and in it the gallant singer Ignacio Corsini, premiered his tango" The emotional bully. " The work quickly became an event, and the public attends to hear the new tango that has become a hit the voice of the young singer.

The Company was made on that occasion by the brothers César and Pepe Ratti, Blanca Podesta, Emma Bernal, Pilar Gomez, Chela Cordero, Manuela Senisterra, Mary Rose, Mecha Caus, Carmen Méndez, Ada Peressini, Mary Esther Lerena, Victoria Corsini Samuel Giménez, Alberto Puértolas, Vincent Sassone, Alfredo Lliri, Raul Castro and Ricardo Ruffa.

The scene in which the Knight Cantor sings the new tango, described in detail luxuries Osvaldo Sosa Cordero, evoking the scenic picture with these words:

"... the final revelation, and its subsequent popularity as a singer - arrived at the night of May 12, 1922, at the same theater and with the same company, playing the character of Lorraine, the "fictional piece" by Manuel Romero "The b ailarín Cabaret," opens on both "Patotero sentimental, "just Romero, music by Manuel Jovés. The public turns to Apollo attracted by the nice piece by noted or cannot, in rigorous "smoking", nonchalantly leaning on the back of a chair, resting his right knee on it, singing in the scenic picture " cabaret "

Patotero, dance hall king of sentimental bully

hide under your laughter
eager mourn ...

The attraction of the table, we would complete with the unforgettable tango dancer skills that he displayed the figure head of the company (referring to César Ratti, renowned tango dancer), under otherwise common in many prominent actors of the time ... "Ruben

Pesce, brings more memories of that memorable performance, describing in detail the cabaret scene, a scene in which Ignacio Corsini sings his new creation:

" Table of cabaret-in those years essential feature for the success of a farce, " Ignacio Corsini with his wife, Victoria Pacheco, and other artists of the company, occupied the first table on the left. When the pit, the orchestra DIRI Gida by master Scolati Almeyda, attacked with the introduction of the tango, Corsini took his seat, went to the proscenium , put it upside down, took the back and we supported the seat with the right knee. So-erg uid, tall, blond, dressed in a tuxedo, "sang The duck uterus sentimental"

Such was the tremendous success of the tango, the audience asked many encores at every performance of the work. Apparently this have awakened some "artistic zeal" director of the Company, the famed actor Cesar Ratti. Indeed, Sunday before the "vermuth", asked Ignatius to the interest of time, dispensing with many public, and orders once reprise the tango, giving a single encore. However, although respected Corsini asked him to do Ratti, the public was so insistent that the director of the Company realized that he must allow all encores required by the public, which at that time were no less than five, according to the Ruben interesting story that makes Pesce.

seems that this would not have been the only episode of such features, or an emergency situation for Don Cesar Ratti. Indeed, under the title "Angelic Cesar Joke Ratti, Roberto Casinelli, recounts another episode that occurred when Agustín Magaldi acted for the Company of the famous actor, playing along with Pedro Noda issues of the national repertoire. We recall that Magaldi was at that time (1926), a young singer who was just starting as a professional, and was therefore unable to "steal" public Cesar Ratti, a great actor and dedicated. Years later Henry Cadícamo, friend and collaborator of Magaldi, recalled the extraordinary human qualities that characterized Augustine, Irene Amuchástegui He was interviewed while writing the biography of the Voice Sentimental.

Casinelli Here's account, extracted from the cover of the album "The history of Agustín Magaldi" (RCA Victor Camden CAS-6035):

"Don Pascual Carcavallo the interest (the duo Magaldi-Noda) for Smart Theater and the employer hires to reinforce the cast of the work of Pablo Pascual Contursi Serum and "Cursed cabaret" or "Cachito Patotero" performed by the Company of Cesar and Pepe Ratti. Debuts on August 21, 1926, sharing the Music with the Orchestra of Juan Maglio Pacho. There were three or four daily sections to packed houses every day and liked most Augustine releases Magaldi (solo) is such as the waltz "Marchetta" version de Tagle Lara and the tango "Old Rag", the same author. On several occasions due Bisaro "Marchetta" delaying the section or bothering the "capo comic" César Ratti. other way had not come on stage dressed as a woman to dance to the beat of the waltz dramatic singing Magaldi. This situation provoked the hilarity of the audience and the singer getting uneasy with that clever play down intervention applause Magaldi and also win the "work" so artfully in the number of most popular attraction of the theater Porada tem. Caesar did not want Ratti
lose
...!" Obviously the encore "I drew" Don Cesar Ratti ...


The sentimental Patotero

Days before the imminent premiere of the play, Manuel had Jovés presented at the Apollo Theater, to end a function, with the music for the letter he had written for the occasion, the author of the work, Manuel Romero. note on our part that it was probably one of the last performances of "The Man Day ", released on April 22, 1922, the work prior to the opening of" The cabaret dancer "by the Company.
Once evicted
viewers Theater, evokes in his work must be consulted Pesce Ruben met in the pit around the piano, Ignacio Corsini, accompanied by his wife Victoria and son Ignacio Pacheco eleven-year-old Manuel Romero, the siblings Ratti and Manuel Jovés who spent several times in the piano's new composition for the present judge their composition, thus making a first trial. Once released the work, Caballero Cantor would be supported in all functions that interpret "The emotional bully" by the Apollo Theatre orchestra, conducted by maestro Félix Scolatti Almeyda.

At that time he knew immediately Ignacio Corsini "The emotional bully" would be a success. Indeed, that night after returning from the theater with his family while walking to a bakery where you bought the bread just out of a third batch "and then went to dinner at his home, his son Ignacio was whistling the tune of the new Tango recently tested, amazing father. Corsini knew well that the tango in question would be "Entrador."

After the resounding success of the work and in light of the growing popularity of the new tango, Carlos Gardel, went to the theater to see and hear personally representing the interpretation of Ignacio Corsini. At the end of the show attended the dressing room and congratulating the singer galan for his performance he predicted a bright future in the way of popular song.

Indeed we noted that "emotional bully", is undoubtedly the first successful Ignacio Corsini, not only as an interpreter of tangos, but as a singer. This creation is projected early on what will be his brilliant solo career, which will start and definitely moved away from the tables in 1928, and will keep for more than 20 years exalted among the most important figures of the national anthem.

At that 1922, although the Cantor Knight two years ago and recorded regularly for Max Gluksman house was not yet definitively established as singing in public taste, and either could say it was better known, at least in the city of Buenos Aires as a stage actor who as a performer. It is possible however, that inside, away from the stage of the capital, was probably best known for his work as singer phonograph, and less with the actor's theater. In fact at that time the Corsini family income came almost entirely from the permanent theatrical activity that developed both Caballero Cantor and his wife actress Victoria Pacheco. Just to check, take a look at the amount of plays in which both participated in the first half of the 20's. It was no coincidence either, that in those years Corsini and his family lived in Corrientes street, so close to those theaters were permanently go to try and represent a large number of works.

However, until the release of "The Patotero sentimental", Corsini had not recorded more than a handful of discs.

Indeed, until the appearance of disc No. 18,041, had released only 30 albums of Caballero Cantor.

The disc edition containing 18,401 on its side A, "The emotional bully" with the accompaniment of the orchestra of Roberto Firpo, while on its face B, had the style "Despedida" authorship of Ignacio Corsini, accompanied with guitars. While

Ignacio Corsini made a significant number of recordings accompanied by the orchestra of Roberto Firpo, it was predictable that "emotional bully" will have orchestral accompaniment, as they played in their successful performances at the Apollo Theater with Orchestra directed by Scolatti Almeyda.

The curious fact is that this album was released in two different runs, the first containing the version registered under number 845-II matrix, and the second containing a later version on the matrix number 924-I, both with Firpo accompaniment.

located in the left sector of this work, find the audio samples that contain mastered both full versions, plus a bonus track: the track "Your sighs" which belongs to the same recording of the second version of "The emotional bully" and it was registered the same day with the number of 925-I matrix .

is possible to speculate that the first two unreleased versions of the work (845 and 845-I), have been recorded with guitar accompaniment, and then to the dramatic difference that surely would have with the stage version, has decided to record the version with the orchestra of Roberto Firpo. This, obviously, we can not corroborate and no more than one more than mere speculation, but it seems at least interesting supposition considered. Finally

last recorded in 1930 and accompanied by his trio of guitars (Pagés, Weigle and Maciel), two new versions of "The emotional bully" with Verotón electrical recording system. They have remained unpublished and have reached our days through the test discs.

In summary, seven versions would then be "Patotero sentimental", recorded on wax by Caballero Cantor, according to the following details:


845 1922 1922 845-I 845-II

1922
924 1922 1922 924-I-5780 07/10/1930
and
e-5780-1 08/13/1930 Since

extrodinaria the success and popularity of the tango, Carlos Gardel takes the disc recording two versions on the numbers of arrays 954 and 954-I, ie a few days after it recorded its parent Ignacio Corsini 924 and 924 - I.

paragraphs back we said that this year 1922, Ignacio Corsini was probably best known as a theatrical actor and singer, and had published until the premiere of "The cabaret dancer, a little more than a score disc (apart obviously from the series Victor, 1912, which by now had passed completely into oblivion for the public, and which we know, was not at all pleasing to Don Ignacio).

Indeed the series of National Odeon records, began in 1920 with the number 201 and extends to the disc number 230, to restart splicing with a new series that is assigned the number 18,401. This album is precisely the one that contains on its face to the "Patotero sentimental."

In this regard we must note as a detail of importance when considering any discography, matrix numbers that hold no correlation with the disc numbers, so that although the time to record his version of "The bully sentimental" , Corsini had registered only 24 original matrices (with possible repetitions, as the case), published when editing the record 18,401, and had actually been released 30 albums, with 28 arrays and two repetitions (30 sides total).

El Caballero Cantor had begun his series of recordings for the Disco Nacional Odeon, Max Glucksman, as noted above paragraphs ago, in 1920, but we note that in relation to Carlos Gardel and the Gardel-Razzano duo had actually made quite few recordings in the same period of two years: 1920


405 - Tortolita and CHIGOL - Disco Nacional Odeon 201 B
406 - My poor china - Disco Nacional Odeon
202 B 407 - Popular tradition of this land - Disco Nacional Odeon
201 A 408 - The last farewell - Disco Nacional Odeon 202 A


1921 478 - The death of milonguita - Disco Nacional Odeon
203 A 479 - flower withers - Disco Odeon National
204 A 480 - My lost illusions - Disco Nacional Odeon
203 B 481 - Lamento - National Odeon DISSC
204 A 520 - A lament - Disco Nacional Odeon
206 A 521-II - China heresy - Disco Nacional Odeon 205 A
522-III - Why did you leave me - Disco Nacional Odeon 205 B 523-I
recalling - Disco Nacional Odeon
206 B 638 - The early morning - Odeon National
207 A 639 - let me Amurado - Disco Nacional Odeon
208 A 640 - My pigeon - Disco Nacional Odeon
208 B 641 - At the foot of the fence - Disco Nacional Odeon 207 1922 B


724 - Poor cotorro - Disco Nacional Odeon 212 A and Disco Odeon National
226 B 761 - The breeze - Disco Nacional Odeon
209 A 762 - Santos Vega - Disco Nacional Odeon
209 B 763-I My rags - Disco Nacional Odeon
211 A 792 - The clown - Disco Nacional Odeon 226 A
792-I The clown - Disco Nacional Odeon
210 A 793 - Farewell - Disco 1Nacional
Odeon 8401 B 794 - For her - Disco Nacional Odeon
210 B 799-I Do not forget - Disco Nacional Odeon 211 B 845-II
bully sentimental - Disco Nacional Odeon 18,401 A
912 - The power of your eyes - Disco Nacional Odeon
212 A 916 - The Girl - Disco Nacional Odeon
18,403 A 924-I The bully sentimental - Disco Nacional Odeon 18,401 A 925-I
Your sighs - Disco Nacional Odeon 18,403 B

clarify that the recordings are in 1922, but for the purposes of this study conclude this list until the recording session that the second version of "The sentimental bully "session in which he recorded also accompanied by the orchestra of Roberto Firpo, the song" Your sighs "Firpo and Corsini himself.


street gangs of thugs and wild
Patotero
The character has been used countless times as part of the subject of quite a few songs in the twenties, and also in his later works, such as occurs with the tango "Corrientes y Esmeralda" where Celedonio Esteban Flores street gangs evokes the following verses:

"handsome subsided along with your ochavas
when a pack shoes in" cross "and you
street gangs were brave gloss
back in year nine two ... "

The" pack "that boasted of his fame as an athlete and skilled fighter is none other than Jorge Newbery, which is painted the entire body with the brief and inspired stroke of the pen porteñísima Cele black, without even mentioning it.

The "bully" and "street gangs" were characters common in Buenos Aires in the late nineteenth and early twentieth century. Witness so many advertisements.

Oto Manuel Gil, "La Argentina that I've seen" (1917), makes an interesting portrayal of the character and defines a "bully", as opposed to "friend" in the following terms:

" compadrito Patotero is good house, the child well, drunk, womanizer, braggart and bully. The friend is a worker who does not want to work, the bully is the wealthy heir who is skull because he gets bored of doing nothing. The gossip is almost always ruffian (Note from the blog: pimp) to get good life, the bully is released to the bad life because you have money left, friends and influences to ensure impunity. Another feature of the bully is that they rarely work and damages individually, as the friend, the bully alone, usually being a good boy. It is only scary in gang when the impunity that secures your silver and your family, you can add the impunity of the number and strength. The differences of origin and identified, among the gentlemen and the bully, determined pre-finishing forced differences, to reach a certain age that is not possible or the binges, or sweet potatoes, or calves, not the other frivolities, which are the hoodlums and thugs fun. The end of friend is usually the hospital or prison. The thuggish, more secure and happy, usually ends in a good job of the state, a deputy of the Nation, and even minister. "

Noting that" there is no sentimental thugs were, "says Francisco García Giménez, that all noting that they were cruel Manuel Romero, a journalist by profession, had in mind the dramatic events occurred the night of February 12, 1911: "... the poor bohemian Abel Gutierrez hairy bum Conti-family safe, of downtown, "tired of the daily taunts of the mob was assembled from a revolver and, after enduring relentless persecution that night five blocks down the avenue, killed by two shots Debenedetti the brash student, compared to the number 744 ... "

are part of this work, available for listening on the left side of this blog, the remastered versions of" The Patotero sentimental ", recorded in 1922 by Ignacio Corsini under matrices and numbers 845-II 924-I and the version of the song "Your sighs" registered under the parent 925-I.


Chronicle the premiere of "The cabaret dancer" - Faces and Masks (5/27/1922)

A fifteenth day of the premiere of "The cabaret dancer" in the edition of Faces and Masks of May 27, 1922 , in "The theater and music in Buenos Aires", published a crude and blunt criticism of the work, signed by Jose Ojeda, the chronicler of events for the magazine. True to his ruthless style, Ojeda made harsh comments about the play, the actors and the musical piece sung by Corsini. See as their views on that day of May 12, 1922, by the way diametrically opposite to the audience that filled the room for countless functions:

"The Don César Ratti company has released earlier this month the drama film The cabaret dancer, Don Manuel Romero. An honest man and his servant promised a dying man under his wing to take a daughter who left school some the city that pretends to be father of the girl, without any regard for the civil registry documents, and soon they fall in love with his pupil when she was already committed to a loss. The honest man must confess his daughter that is not your father, and the girl, indignantly of the deception, forget all the love that he had been awakened by the honest man to flee with the man lost. After years man honored in the drink is ruined and has to hold the servant, working as a cabaret dancer. There is, of course, the old adopted daughter, and she is also seductive. The girl throws her arms around the neck of an honest man and drunk, shoot you the servant of the lost man, and left turn giving sound advice and regeneration work to his former employer.

Falsehood psychological and theatrical piece is offset by the outline a bit coarse and careless of the protagonist, the selfless servant, faithful and perfect the ancient tales.

The cabaret scene serves to introduce the well-known Figures of the medium and not missing, by the way, tango song and dance more or less exotic, favorite pieces of public resources for bad law priming.
Mr. Ratti excels in the performance of the protagonist at a height not reached anywhere near by those around . "

We make special mention and thanks to our dear friend Carlos Piccio, through whose courtesy we play this interesting disease.

Sources:
- Dr. Ignacio Corsini (h): "Ignacio Corsini, my father" - Editorial Todo es Historia - 1977
- Diario La Nación -26/12/2002
- Journal Reason - 28/7/2009
- Faces and Masks - 27/5/1922
Edition - Sosa Cordero, Osvaldo: "History in Buenos Aires 1900-1925 vaudeville." Editorial Corregidor - 1978
- Pesce, Ruben - Selles, Roberto: "The history of Tango. The voices of the Tango. Ignacio Corsini.." Editorial Corregidor-1978
- García Giménez, Francisco: "Thus was born the tangos" - Editorial Losada - 1965
- Marambio Catan, Carlos Marambio: "60 years with the tango." Editorial Freeland - 1973
- Morena, Miguel Angel: "Carlos Gardel's artistic history." 5 ° enlarged and definitive edition. Editorial Corregidor - 2008
- Daner Suarez, EM: "The farce." Centro Editor America Latina - 1970
- Ordaz, Luis: "El Teatro Argentino." Centro Editor America Latina - 1971 - Gil de Oto, Manuel: "The Argentina that I've seen."
1917 - Casinelli, Roberto: "The history of Agustín Magaldi" - RCA Victor Disco Camden - CAS-6035