To the big doll - A la gran muñeca

«To the big doll»
Manolita Poli.jpg
Publication 1919
Gender tango
Composer Jesus Ventura
Lyricist Miguel F. Osés
Original language español
Country of origin Argentina

A la gran doll is a tango whose lyrics belong to Miguel F. Osés while the music is by Jesús Ventura , which was premiered in 1919 by the female singer Manolita Poli in the theatrical work A la gran doll (bazaar and toy store) that premiered together with that one. In the letter, written in the first person, the protagonist asks her to return to the lover who left her for another woman who, in turn, has abandoned him.

The authors

Jesus Ventura ( Zaragoza , Spain , 1882 - Colombia , 28 of August of 1974 ) whose full name was Jesus Ventura Lafuente, was a composer , musicologist and conductor , author of zarzuelas and music to the big doll .

Miguel F. Osés ( Argentina , 4 as October as 1884 - ditto, 8 as October as 1928 ), whose full name was Francisco Miguel Osés was a playwright , literary critic , journalist and politician .

Creation and premiere

Osés wrote the political satire and current affairs magazine A la gran doll (bazaar and toy store) with music by Maestro Ventura, which was very successful. Ricardo García Blaya says that the premiere was at the disappeared Buenos Aires Theater , located on Cangallo street (today, Lt. Gral Perón) in the block that was later demolished to build Avenida 9 de Julio on August 1, 1919 [ 1 ] García Jiménez affirms that the company that premiered it was Muiño - Alippi [ 2 ] . Other authors say that the premiere was in 1918 by the Vittone - Pomar company .[ 3 ] García Jiménez says thatThe Great Dollwas simply the name that the author had given to the bazaar and toy store where the action supposedly took place and he discarded two hypotheses that circulated about the origin of the title of the work: one according to which It was in homage to the man of the turf and politicianCarlos Pellegrini, characterized by his "big doll" in political activity and whose stud had precisely that name, and the other according to which it was referred to the professional riderDomingo Torterolo,very famous for his triumphs in that era.

The play proposed a bazaar and toy store in which the dolls came to life and were played by the actors. The recent success that Manolita Poli had obtained by singing the tango Mi noche triste en el sainete Los teeth del perro was present in the minds of the authors , so they searched for a song that could replicate that event.

According to the indications of the libretto, the characters Experience and Optimist are on stage in the second scene of the fourth painting. Milonga leaves, followed by El que plega a gesture; Milonga with a gesture of disdain separates him and exits (leaving the stage) and he goes after Milonga. The Pearl Necklace character –Manolita Poli- enters after them singing in the direction of the two:

I have seen you go by on the sidewalk
with a gesture of desolation
and in passing you didn't even look
that I understood your disappointment.

Ventura's music deserved much praise and the tango lyrics became popular but soon fell into oblivion. Recorded by Lomuto in 1936, it was Carlos Di Sarli who in the mid-1940s added it to his repertoire, recorded it three times, 1945, 1951 and 1954, and made it a classic.

García Blaya says that A la gran wrist is a capital page of the genre, although it was hardly sung with a few exceptions, since the recordings of that beautiful tango are mostly in the instrumental version.

Recordings

Some of the recordings of this tango were: [ 4 ]

Notes

  1. García Blaya,.
  2. García Jiménez,, p. 138.
  3. ^ Pelletieri, Osvaldo (director); Alicia Aisemberg; Ana Maria Lusnich; Martín Rodríguez (2002). "The companies of the time". History of Argentine theater in Buenos Aires. Vol II . Buenos Aires. Ed. Galerna. p. 156. ISBN 950-556-447-3 .
  4. "To the great doll" . Retrieved October 14, 2015 .

References

  • Del Priore, Oscar; Amuchástegui, Irene (1998). One hundred fundamental tangos . Horacio Ferrer (prologue). Buenos Aires: Aguilar. pp. 76/77. ISBN 950-511-379-X .
  • García Jiménez, Francisco (1981). This is how tangos were born p. 205/8 . Buenos Aires: Corregidor Editions .

external links