Altitude And O2 Dissociation

Ignacio Corsini sings "Caminito" in the play "Facha toast" and becomes a hit

The company Luis Arata Comedy Theatre opens with the work "Facha Tosta"

On May 5, 1927, was inaugurated as the Comedy Theatre "in the city of Buenos Aires, with the debut of the Society of plays and Skits" Luis Arata. "

Located on the street Corrientes 1280, between Talcahuano and Freedom, originally started as "Theatre Smart Palace "in 1914. Post previously amended in 1921 the building, and in 1924 am years pass from White and Alberto Podesta Ballerini, who recently moved to the "Smart " to the curb front (Corrientes 1283), where now Blanca Podesta Theater .

Having then left the building without use, was confident his r emodelac ion architect Alejandro Enquìn , who redesigned to be reopened in 1927. Today it continues in full swing, with the magnificent building and original architecture of that time, reopening under the name Lola Theatre Membrives .

That May 5, 1927, the Company Luis Arata, the premiere of "Facha Tosta" original farce in three acts of Alberto Novión . In the third section (23.15 hours) was given the following program:

1 .- Music for orchestra conducted by maestro Antonio Scatasso

2 .- Speeches Enrique Garcia Velloso and Alberto Vacarezza on behalf of the Association of Authors Argentina

3 .- "Facha Toast" from Alberto Novión

The actors assumed the roles of that work on that occasion were: Luis Arata ( Genaro ), Berta Gangloff ( Juliet), Emma Bernal (Carmela ) Leonor Rinaldi (Caterina ) Marcelo Ruggero (Father Salvatore ) , Juan Fernandez (Don Pietro ), Ignacio Corsini (John Angel ) Froilan Varela (Don Nicola ), Carlos Rosingana ( Crispino ), Juan Vittola (Stefano ) Ernesto Villegas ( Bartolo), Alberto Fregolini (Pascale ) and C. Lucca ( Juanín ).

Ignacio Corsini interprets the tango "Caminito " in the third box, being very brief intervention in the plot of the play. Alberto Novión paints for us the context in which to develop the scene well:

TABLE THREE (FACHA TOAST )

"A full field patio party. Lots of light. Farolitos , flags , joy. On the right, part two doors poor practicable. Left also. Forum wall. Some willows.

As the curtain rises, Carmela (Emma Bernal) and Genaro (Luis Arata ), Doña Caterina ( Leonor Rinaldi ) and Don Nicola ( Froilan Varela ) are sitting in the forum. Genaro has the right to Doña Caterina , Carmela on your left to Don Nicola .

First, left, a table, three stools and three glasses of wine. They are sitting Father Salvatore ( Marcelo Ruggero ) Stefano (John Vitola) and Pascale ( Alberto Fregolini ). Father Salvatore , is ahead of you, one and nsaladera full of lettuce. First, right, another table with two stools, where they are sitting Juliet (Gangloff Berta) and John Angel (Ignacio Corsini ).

As the curtain rises several couples dance a tango. The orchestra plays in the forum. Two boys serve liquor. on stage are those who have taken part so far in the work except Pietro (John Fernández ). It's night ... "

Juliet (Berta Gangloff ): - Giovanne Angelo, is not what is seen Pietro ? Nobody knows l é . I uneasy.

Juan Angel (Ignacio Corsini ): "No, I have not seen. It will come-

Salvatore ( Marcelo Ruggero ): (Speaking with his mouth full. Follow the dancing). I saw ne to America, po rque in Italy I was starving.

Pascale : - E that was sent to these shores, such lecos of Buenos Aires?

Salvatore : - Per scoundrel ... When I was in l ' Inglesia Buenos Aires, I er to the most trusted priest of the parish, he kept the coin. Ma one day, I called for the liquidation of a suscrizione had been done to the doors of the temple, and found that I had Compadreando the mountain with door ... I thought, if the silver and the door I lose her to the door, and I had to break away out the window. San God, a radish! (Goes to Pascale ). Tomá , you eat it ... To you I love you. I have trusted you. Crispino ! Crispino !

Crispino : - Here I am, you, you, you, you ... What is offered, ta , ta, ta , ta?

Salvatore : - Vó bring me wine and Decat of clubs ( Crispino goes in search of an arra j with wine and served . When the dance)

One: - Who sings Angel Juan !

Miscellaneous: - sing, sing! (Applause)

Genaro : - Ché , singing something in honor of the bride. I will thank you.

Julieta : - Sing Angel Juan . Something sad, something sentimental.

Juan Angel : - Tell to Paulo Antonio touching as always.

Genaro : - Che Paolo Antonio, tocá as usual, to dereference

In that moment, Ignacio Corsini sings " Caminito" with music by Juan de Dios Filiberto and lyrics Gabino Coria Peñaloza , and always makes for an event. We suspect that the gentleman interpretation singer, like almost all those that were carried out in the sketches, perhaps out s ecundada by the orchestra by the great Antonio Scatasso and not with guitars that is usually accompanied on their recordings at that ento NCES.

We must remember, moreover, Caballero Cantor that had not yet begun his career as a solo singer, which will begin its presentation , 28 February 1928, at the Cine Teatro Astral, accompanied by the guitarists Aguilar , Weigle and Maciel.

is possible that the success with " Caminito", has been among other factors, one of the background they decided to Ignacio Corsini to project himself as soloist. Other factors that may contributed to the decision to leave the theater and take that step might have been:

a) The improvement in selling their albums at local and national levels. This can be assumed by the profuse amount of titles that Knight left Cantor registered between 1927 and 1928, including footage edited alternatives under the same number of disk;

b) growth of radio as mass medium of communication , which begins precisely between 1928 and 1929, as an effective distribution channel for singers and orchestras. Remember that to date production radio programs had been virtually experimental and commercially-exploited . In the late 20's, begins to enter cutting-edge equipment is a rapid environmental professionalization at all levels;

c) Symptom Possible is Ignacio Corsini for that time was considering close a cycle in his acting career, which probably not offered and broader horizons. We recall that while decent performance and successfully in the tables, never achieved the prominence brightness and reaching the great figures of national theater. Possibly exhausted his time as a stage actor with 38 years of age, has received that are not yet too late to start a career as a soloist in an exclusive and definitive, capitalizing and all his previous experience in the tables. Excellent and wise decision that allowed him to shine and stand out as one of the greatest folk artists of his time, nothing less than the maximum side of the track star, Carlos Gardel .

From that memorable day at the Comedy Theatre, is the memory of a standing ovation at the end of his interpretation of " Caminito", and maybe a little exaggerated anecdote, which shows an exalted Filiberto Tado-who was present the premiere of "Facha Toast" - standing on his chair, with his umbrella while hitting the seat in front to frantically, shouting loudly: "Ignacio Bravo ... bravo! So you sing! "

The truth is that "Caminito " had been released by Filiberto unsuccessfully in 1926, and even the excellent interpretation by Carlos Gardel disk (1926 - Sound System), had been able to popularize .

Indeed, the chronicles mention that although it was premiered at the Carnival of 1926 in a competition organized by the Public Assistance, days later, the tango was greeted with " disapproval" (some say he was hissed and booed), in a presentation held in the Rural Society of Palermo.

Filiberto mismo lo recordó así en una entrevista: "... La voz de Corsini rescató a Caminito de entre los silbidos y gritos de protesta. Había ganado un concurso al final del c arnaval . Lo tocamos e n L a Rural y apenas pudimos terminar entre los gritos, silbidos y protestas contra el tango y el fallo: un escándalo. Lo volví a presentar en el Teatro Marconi , donde yo tocaba en los bailes de Carnaval, y se repitió lo de La Rural. No gustaba, era muy suave, muy delicado... ni siquiera Gardel the record could impose. Corsini rescued him from oblivion. When it premiered in Facha toast, A. Novión , the theater collapsed. A huge success, Since then claimed Caminito personality and began to walk this world alone. In France and Spain, opened the doors to the p añuelito and Clavel del aire ".

But everything changed as if by magic after the" toast Facha ". A root the huge success, Debio Required the approval Carlos Gardel for Cantor Knight performed the same recording in the studios of Max Glücksmann . Is that the contract Gardel c ontenía an advantageous clause that guaranteed exclusivity of the tangos before other performers recorded the house, and as we indicated above, it already was recorded in 1926.

then after the event, Gardel recorded it back again this is z and perfected the system of electrical recording Verotón .

A chronicle of the newspaper La Epoca , cited by Ruben Pesce, informs us that the May 7, 1930, Ignacio Corsini performed " Caminito" in the Hall "José Verdi, La Boca, a h omenaje offered by major figures. The chronicle reads: "The applause was more fed dedicated to Caminito, that marked directions. Ignacio Corsini, with his warm voice timbre, was the worthy play. "On this occasion, we assumed that was backed by his guit arristas Pagés, Weigle and Maciel, who were their accompanying fixed at the time.

Chronicles "Facha Tosta." were not all roses.

On May 14, 1927, edition of "Faces and Masks ", issued a stark and blunt criticism by Jose Ojeda at the premiere of" Facha Tosta, "calling to "Caminito," a tango " improbable" , without leaving any evidence of success according to other sources would have made that interpretation Corsini. In fact makes no reference to the interpretation of Corsini, curtly saying only that the tango was played "by Mr. Corsini." It seems incredible that Ojeda was present on the same day, along with all the sources referred to in this work and has seen the situation from an angle so opposed. We must however remember that chronic Ojeda, not characterized precisely by being lenient to the comedies and farces of a popular, being not infrequently their findings envuentas rather caustic and in a tone of distrust.

us judge for ourselves the comments published in this edition of "Faces and Masks" which hit the streets nine days after the premiere of "Facha Tosta"

"The opening of Comedy Theatre was an extraordinary event in the nightlife of the metropolis. The new hall, completely full of people, was opened with a short and friendly speech Enrique García Velloso, another flower of Alberto Vacarezza and the premieres of "The attorney Galiniana "Don Eleodoro Peralta and Don Carlos Cabral, and" Facha Tosti, Don Alberto Novión, committed both to the company's interpretation of Don Luis Arata.

"The attorney Galiniana" is a vaudeville exploiting the situation of an angry creditor to a debtor seeking unknown and the tricks that he uses to appease two intrigue mixed with jealousy, whose adventures will weave without much logic, and cover all their comedy in the "machiette" opposed by Arata and Ruggero.

"Facha Toast!" is an intense drama of love and death, with an impressive first act of artistic and technical construction, a second comic act that does not add a point to the action and a poor outcome and conventional: it seems that Mr. Novión was seen in the need for continued and ended up forced into a play that worked well developed and could have been a beautiful tragedy . The exhibition's theme is magnificent, and the ladies were highlighted Bernal and Gangloff, and Mr. Arata, Fernandez and Varela, the episode of the second picture is a patchwork given to vulgar tastes, though the figures of Italian priest the clerk (Mr. Roggero and Rosignata), and the end is extended too far-fetched with a tango, sung by Mr. Corsini and personality bankruptcy the naive and strong sailor, who is the protagonist, with tears of feeling without an object "

We make special mention and thanks to our dear friend Carlos Piccio, through whose kindness we could reproduce this interesting chronicle.

Gardel and Corsini recorded "Caminito"

illustrate this paper with the labels on the issues of "Caminito" published in 1927 in Argentina and Chile.

Carlos Gardel recorded initially in the acoustic system "Caminito" in 1926. This record comes published in the National Odeon Disco N º 18 171 (matrix 4076).

Ignacio Corsini, in turn, as recorded in the electrical system Verotón on June 15, 1927, and published in National Odeon Disk No. 18,496 B (matrix 927). We note that the completion of this recording takes place one month and 10 days of the release of "toast Facha" ie full success of the play and "Caminito".

Again Carlos Gardel after the success of Ignacio Corsini, performs or na new recording of "Caminito" (this time in the electrical system) the July 20, 1927. L is a matrix 1109, which remained severely unprecedented in Argentina, and inexplicamblemente (and thankfully) is published in Brazil by "Odeon" in Rio de Janeiro, under the disk number 2110, being the introduction of significantly guitars different from the other recordings made by Gardel.

This interesting information has been provided in his excellent blog http://www.carlosgardelgrabaciones.blogspot.com/ by studies investigated r e Fabio Cernuda, whom we thank for permission to reproduce this information. A copy of this sounds pretty bad decision has been published some years ago in the collection "Todo Gardel" (Alt aya). Needless to say, this is an extremely hard very hard to find in the original edition, since the only Brazilian edition containing this shot is the one issued in 1927/1928. We have found that Brazilian subsequent editions of "Caminito" (ca. 1930 et seq.) Matrix containing the 1109-1, which is the same published in Argentina.

Finally, on August 20, 1927, Carlos Gardel, not in accordance with previous vers ion repeats the recording of "Caminito" in the matrix number 1109-1, edited in Disco Nacional Odeon, under number 18 218 A .

On the left side of the blog, you can hear versions of "Caminito" remastered from original discs, performed by Carlos Gardel and Ignacio Corsini in the following order: Carlos Gardel (Matrix 4076 - Acoustic System), Ignacio Corsini (Matrix 927) and Carlos Gardel (Matrix 1109-1).

Sources:

- "The Scene. Revues." No. 470 - June 30, 1927

- Teatro Lola Membrives: http://www.lolamembrivesteatro.com.ar/

- The history of tango. Volume 10. " The voices of the Tango. Ignacio Corsini, by Ruben Pesce. Editorial Corregidor - 1978

- The history of tango. Volume 6. " The twenties. Juan de Dios Filiberto, by Enrique Puccia. Editorial Corregidor - 1977

- Magazine "Faces and Masks" - Issue of May 14, 1927

- "Ignacio Corsini, My Father." Dr. Ignacio Corsini (h). Editorial Todo es Historia - 1979

- http://www.ignaciocorsinigrabaciones.blogspot.com/ - by Fabio Cernuda

- http://www.carlosgardelgrabaciones.blogspot.com/ - by Fabio Cernuda