benefit performance at the Teatro de Verano The March 22, 1918 the Company Podesta Brothers performed a benefit performance of Victoria and Ignacio Corsini in the Summer Theater We referred to Dr. Ignacio Corsini h, which in late 1916 Pepe Podesta, build a summer theater in a unique venue in San Juan and Entre Ríos.
As noted in an earlier comment, it is precisely here where Corsini plays Manuel in "stumbling block", occupying the role they had played in turn the great Pablo Podesta, who wrote the music style namesake.
is in this Theatre Summer, where, on March 22, 1918, it performs a function provided by the Company of the Podesta to benefit Ignacio Corsini and his wife Victoria Pacheco.
The presentation starts at 21:00 hours, and primarily represents the book "In a pingo pangaré" with texts by A. Lagazzio and music by Antonio Podesta.
In this work, Ignacio Corsini plays Juan Cruz Montiel and sing the style "The Pangare" which could be assumed was the same as Carlos Gardel had recorded a year earlier in one of his first solo operations to Ma
x Glücksmann (Disc 18003 - Matrix 34, allegedly recorded 04/09/1917)
"In a pingo pangaré with a brake coscojero Guen Guen hardware and implement Pigüe towards Montiel Cruz goes undercover bordering a ravine ... " However we can not confirm for certain that they were a version of the work, with the same letter and / or music to interpret Gardel, as it was quite common at that time that certain works be sung either with different music or longer with different letters, as witnessed by numerous recordings of that period.
Take for example the case of the style "Sleep." We have documented that the style "The Dream" which was recorded by Carlos Gardel in 1912 to Columbia (Columbia Disco T 730 - Matrix 56755-1) and later, with another different tune for Max-Glücksmann the March 30, 1927 ( National Disc 18201 - Matrix 547), was in turn recorded by Mario Pardo under the title "Dream" (Disco Nacional 303 A - Matrix 1017 to 1922), with a different melody to the two versions mentioned above.
As a matter of interest, we also note that there is a homonym recorded by José Razzano (Victor 62835 Disc B - 1912), in his words and music label credited the acclaimed author Don Creole Elijah Regules and indicating that it is a "Song." It is, in fact, a completely different composition to the above, that has nothing to do with music or lyrics of the respective versions of "The Dream" to stop and Mario Pardo Gardel recorded. In this recording Razzano also involved making the recitation or "embellishments" Eugenio Lopez. The music of this "song" is almost the same as that used Razzano in different versions in the future will record the average figure "nonsense." (Disc 18019 - Matrix 168, 1919, National Disc 18276 - Matrix 4174 - 4/6/1929 and National Drive 18845 - Matrix 4174-1 of 12.03.1931).
back to the version of "The Dream" recorded by Carlos Gardel in 1927, is attributed on the original authorship of this style with Francisco Martino, old buddy action Gardel in his early days as a singer. We remember the way, that in those early days both integrated quartet was completed with José Razzano and Saul Salinas. As additional data add further that there is a record as a duo of Francisco José Razzano and Victor Martino, 1912 series, retaining only the voice of the latter. The label on the original Mario Pardo disk that contains the version of "Dream," by contrast is attributed the authorship of the work himself Pardo.
In the latter case, there is also another curious detail. The music used by Pardo is very similar to the style of "How nice that time" (National Drive 18063 - Matrix 759-1), which was recorded by Carlos Gardel in 1922.
is quite possible that this tune belonged to the popular cultural heritage and had its origins in the nineteenth century, without prejudice to the respective attribute in the tags to "Gardel-Razzano" (in the case of "How nice this time) and "Mario Pardo" (in the case of "Dream").
As additional data to visualize as lyrics and music without differentiation and without control are attributed authorship on the part of the real perpetrators, the same applies to the style "guitar sounds darling," recorded in 1912 by José Razzano and "Guitar beloved" (Victor 62911 Disc) and whose authorship is attributed to "Rossi." Later in 1919 the same work is recorded by Carlos Gardel with other music completely different to Max Glucksmann (Disco 18 014 - Matrix 60), turning once again to record the November 2, 1933 in the penultimate session of recordings he made before abandon Buenos Aires (National Drive 18900 - Matrix 7581). As additional data on the disk note that 18014 does not indicate who is the author's style, and 18900 disk authorship is attributed to Gardel-Razzano.
Rehearsing a likely explanation to much chaos, you might consider that one possible reason may lie in the fact that many of these works were published without music in books or brochures, by their authors, and therefore were later musicalized by each player according to their taste or convenience, in many cases perhaps limited borrowing melodies that could be traced even to the last quarter of the nineteenth century. Another cause that would have favored this practice might be in the absence of special rules and consolidated entities and institutions that protect the rights of authors through the recording of musical works, in those early S.XX. In
Given these ancedentes certainly would not be an exceptional case Ignacio Corsini interpret the verses of "The pangaré" with a tune different from that used in recording the Creole Thrush, or even with another letter slightly differently. Although we can not conclusively confirm this, however we may consider, in view of the above mentioned paragraphs back, that was not an uncommon practice in those days and therefore could well be the same style in a different format or version.
Returning to the beneficial role of yore, complete the range, the second part is the dramatic comedy in three acts entitled Julio Sanchez Gardel "The Bells" where Victoria Pacheco
assumes the role of Angelita and Ignacio Corsini plays
"José Luis" . Also part of the evening the
"Internationally comic duet Carpi." Tetro from those years of summer brings a vivid memory Osvaldo Sosa Cordero, who recounts the passage of the two actors by the Company Podesta Brothers:
"In the four years there after, they were from 1916 to 1920, Corsini always remained unforgettable. We were still children, when a "vermouth" We had the opportunity to attend the representation of an appetizer called "What heat with so much wind! "and as a finale, listening to their folk songs Corsini. He worked in the open air theater and now on the end of the show broke one of those sudden summer downpours arrived to complement the premonitory title of the interlude ... blew stuff on stage, props and even actors ... and viewers, putting his heels, we like to litter, impelled by the wind, soaked to the bone ... " illustrate this post with a copy of the front and back of the card of invitation to the event read:
"Victoria and Ignacio Corsini, are pleased to invite you and family to attend the Summer Theatre, on the night of your benefit. Waiting to see us honored by your presence, greeting atte. Recipients' 
recall that singer and Victoria Knight were married in 1911, when he was 20 and 17 years respectively. Ignacio Corsini h. Remember that such was the poverty of the couple at the time , which should make the journey on foot and from the registrar.
is through Victoria's father, Ignacio Corsini is linked to the Podesta. Indeed, in the first decade of the twentieth century, long before the creation of the Summer Theatre, Corsini knows Joseph Podesta, to make a visit the chapel of his future father, veteran actor José Pacheco, who was part of the cast of the Podesta. On that occasion, sings a style and is played by Don Pepe, who is close to the dressing room and offers to join the company. Shortly after incorporation occurs as an actor and singer Corsini Creole.
Victoria was the daughter of Joseph and Louise Pacheco Zanetti, his parents were pioneers in the early creole Circus. In the beginning, was involved in the shows singing songs and participating in acts such as trapeze, then developed her acting career by Corsini. Her son described
"... short, brown hair and big eyes on the cord color ". By the year 1926, when his home Corsini opens Otamendi Street 676, Victoria leaves the action to engage in home theater. He died in Buenos Aires in 1948.
Ignacio Corsini recalled in 1950 with these beautiful words
"... in all have signed contracts with theater companies, has always been my unforgettable wife. It had the great lifelong companion, who encouraged me in my uncertain hours and I should much of my success " The house where he lived with his family Ignacio Corsini nearly fifty years of his life, from 1926 until his death in 1967, still remains almost intact, just meters from Centennial Park.
In the early days used to be the only house on the block, surrounded by vacant lots and streets and sidewalks of land, located off the home stadium of Club Almagro, and Gaona (inbound), the Chapel of Our Lady of Sorrows, which still remains standing.
hard to imagine today the neighborhood as described by Ignacio Corsini h. in his account, with dirt roads and large areas without buildings. Centanario Park to imagine the young trees and little vegetation in the first quarter of the twentieth century.
a fact to regret is that the plates are gone reference testified and had been placed by the Deliberative Council City of Buenos Aires in front of the house at Otamendi 676.
Sources:
"Ignacio Corsini, my father" - Dr, Ignacio Corsini (h). Todo es Historia Ediciones - 1979 "History of Variety show in Buenos Aires 1900-1925" - Osvaldo Sosa Cordero - Corregidor - 1978
National Theatre Archive Collection Cervantes
Santi Diaz testing the waves of the North Shore Galician. 
