2023-12-12 11:00:00
Shortly before meeting Adrian Guidadon Osvaldo Pugliese he composed and recorded a tango that he named Up earlyand he put his voice to it to dedicate it to “those tango players to whom death woke up very early… If it had not been like that, how many beautiful things they would have continued to give us”, and he named Aníbal ‘Pichco’ Troilo, Orlando Goñi and Enrique Mario Francini, among others.
He never thought that that little boy who emerged from Great Values of Tangothe program of Alejandro Romay y Silvio Soldanto which Charly GarcíaWithout saying it, he dedicated his song to her To the youth of yesterday, would be another of the “early mornings”. Because Adrián was taken by a pulmonary edema shortly before his thirtieth birthday, on the followingnoon of December 12, 1994. On the eve of his death – tango dayin honor of the births of Carlos Gardel and of Julio de Caro– had debuted as a singer of Arrabal Sextet, made up of other musicians from the Pugliese orchestra with prior “permission” from the maestro, in a tribute to Juan Carlos Copes and María Nieves, in Casablanca and had sung “Regalo de Reyes”. Also that night he had performed with the Pugliese Orchestra at the closing of the Tango Week, at the Recoleta Cultural Center.
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Adrián was a boy from another era, contrary to the fashions of his time. He was born on March 26, 1965 in the city of Buenos Aires and had always loved tango. At the age of 14 she won one of the young talent contests on Channel 9, with a style that was reminiscent of the great singers of the ’40s, whom she admired, especially Raul Berona Julio Martel already Alberto Morán. And of course, his beacon, like that of every good tango player, was Carlos Gardel, whom he admired down to his flaws. Neither national rock, nor The Beatlesnor anything like it entered his tastes.
His art and his voice had attracted attention on television and in clubs in his neighborhood, but his entry into the Orchestra of Osvaldo Pugliese It was touching the sky with his hands for him. The old maestro, always open to listening, learning and adding talents, incorporated him into his team, making him the youngest singer in the history of his orchestra. And Guida got off to a good start: his presentation in the big leagues of city music was on Pugliese’s 75th anniversary at the Stadium Luna Parkwho applauded him.
Adrián made his place in the demanding selection of musicians led by Pugliese, sharing the bill with Abel Cordobaanother ‘record man’ of the orchestra, in which he debuted in 1964 and remained until the maestro’s death in 1995. He had been recommended by his “artistic godmother”, Nelly Vazquez and in the test that Pugliese took, three tangos were enough for him to pass the entrance exam to paradise: Bailemos, Son cosas forgottendas and Galleguita.
“I started singing at home, when I was just a child,” Guida said. “I started to feel the tango because I was born in a tenement. In the piece ‘it was raining’ and the tenants sang and whistled tangos all day. Later I studied vocalization and sang in the clubs in my neighborhood accompanied by the guitarist Toto Serrano. But ‘the kid’s dream’ came to me when the maestro took me into his orchestra. Me singing with Pugliese! It was amazing!“, he said in the reports.
His first challenge was to record on the album “Futuro”, where Pugliese gave space to ten young singers. Then he participated with the orchestra on tours in Europe, performed in the concert “Finally Together”, which united Pugliese with Astor Piazzolla in the Netherlands and had its night of glory on December 26, 1985 when Pugliese arrived at the Teatro Colón. He also participated in the orchestra’s latest recordings, which were increasingly spaced out. On the album she left her Gardelian and traditional imprint. He preferred classic tangos to the new forms that appeared. Yes, one of her hits was Quinto Año, but when it came to choosing, Guida preferred to sing Almagro, which was attached to her heart and that of her beloved Boedo, Calor de corazón or the mythical Volver, from the Gardelian repertoire or “Old friend ”, which had immortalized Floreal Ruiz, versions that he used to listen to until dawn on old 78 RPM records following his performances. “That ‘Alberto Morancito’”, he defined him forever Carlos Marcelo Thierysynthesizing like no one else what Adrián Guida was in the Pugliese orchestra in the ’80s.
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“I don’t know what’s happening… Life is killing all the tangueros. He is also waiting for me,” said Pugliese in Adrián Guida’s farewell. He loved him like a son, advised him and guided him in life., beyond the profession. His death, like that of his grandson Osvaldo, sapped the old master’s strength and he barely survived a few months.
“I would have liked to see you / Carlitos Gardel aged / With gray hair / but to have you to have you” Guida sang to her beloved Creole Thrush in the Pugliese orchestra with Abel Córdoba in Milonga for Gardel. How we would have liked to see Adrián Guida ‘aged’ and with ‘gray hair’ if ‘the grim reaper’ had not woken him up very early…
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