Rodolfo Lesica, Argentine Tango singer.

“Historia de un amor” by Héctor Varela y su Orquesta Típica with Rodolfo Lesica in vocals, 1956 (English translation).

“Historia de un amor” by Héctor Varela y su Orquesta Típica with Rodolfo Lesica in vocals, 1956 (English translation).

Rodolfo Lesica, Argentine Tango singer.

Rodolfo Lesica

Singer (12 November 1928 – 19 July 1984)

He worked with Héctor Varela from 1950 until 1961.

When he definitively split with the orchestra that so many unforgettable times brought to tango, as the finale of that stage it is important to highlight a story about the probably most successful hit of the Varela-Lesica team.

Varela was a close friend of the musician Alfredo Malerba‘s, husband of the great female singer Libertad Lamarque.

In 1956, on a meeting held by Varela and Malerba, the latter told the former that they had brought from Mexico a beautiful bolero that doña Libertad wanted to record as a tango.

Varela suggested Lesica that he should try to get it.

Lesica visited Libertad and asked it promising that he would record it after she had done it.

But Varela and Lesica recorded it immediately and it became a boom.

The bolero adapted as tango was “Historia de un amor”.

Soon later Lesica met Libertad, at first he pretended not to see her because he was embarrassed, but she instead of making any complaint congratulated him for the recording and the success of the piece.

Story of love

You’re no longer by my side, sweetheart
I have only loneliness in my soul
and if I can’t see you anymore,
why God made me love you
to make me suffer more …

You were always the reason for my existence,
worshiping you for me was religion.
And in your kisses I found
the fire that gave me,
The love and passion.

It is the story of love,
as there is no other like it.
That made me understand,
all good and all evil
that turn on my life,
turning it off later.
Oh, what a dark life,
my sweetheart,
without your love, I will not live!

Continue reading about Rodolfo Lesica at www.todotango.com

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Argentino Ledesma, Argentine Tango singer.

“Novia provinciana” by Héctor Varela y su Orquesta Típica with Argentino Ledesma in vocals, 1952.

“Novia provinciana” by Héctor Varela y su Orquesta Típica with Argentino Ledesma in vocals, 1952.

Argentino Ledesma, Argentine Tango singer.

Argentino Ledesma

Singer and lyricist (24 June 1929 – 6 August 2004)

All of a sudden, Argentino Ledesma joined that fashionable orchestra sharing the stage with Rodolfo Lesica, and soon they would become the most popular team of singers of the 50s.

His debut took place at the Chantecler cabaret.

The evening of June 24, 1952, thanks to an offer not to be disregarded at all, the orchestra began to appear at the mythological Marabú, on 365 Maipú Street.

His first recording with Varela was on August 21 with the tango “Novia provinciana”, for the Pampa label.

Read more about Argentino Ledesma at www.todotango.com

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Carlos Viván, was a great composer of widespread Argentine Tangos.

“Moneda de cobre” by Héctor Varela y su Orquesta Típica with Argentino Ledesma en vocals, 1953.

“Moneda de cobre” by Héctor Varela y su Orquesta Típica with Argentino Ledesma en vocals, 1953.

Carlos Viván, was a great composer of widespread Argentine Tangos.

Carlos Viván

Singer, actor, lyricist and composer (15 April 1903 – 16 July 1971)

He had a warm voice, within an alto-tenor range, as it was common then, plus a feature that made his voice unmistakable: his vibrato. Later, with a greater experience he was showcased in the United States and with the Julio De Caro orchestra between the years 1943 and 1944.

He worked with many orchestras, but he was essentially the refrain singer for Juan Maglio, recording around 150 renditions.

He was featured lead actor and singer in theater plays.

He was a great composer of widespread tangos. Among them: “Moneda de cobre”.

Read more about Carlos Viván at www.todotango.com

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Héctor Varela. Argentine music at Escuela de Tango de Buenos Aires.

“Fueron tres años” by Héctor Varela y su Orquesta Típica with Argentino Ledesma in vocals, 1956.

Héctor Varela. Argentine music at Escuela de Tango de Buenos Aires.Héctor Varela

Bandoneonist, leader, arranger and composer
(29 January 1914 – 30 January 1987)

Lead bandoneon and arranger of the Juan D’Arienzo Orchestra for ten years, identified himself with the trends of a genuine traditional origin, and his orchestra boasted, as major attraction, the precision of a difficult technical performance, in the middle of a very personal hasty rhythmic beat.

And that is, exactly, what Varela strove for during his tango career: to play with his orchestra for dancers.

He was a musician criticized by the innovative players but loved by the fans of dancing and popular tango. I think that his best artistic stage was in the early 50s, later, like his teacher D’Arienzo, his orchestra declined into a commercial vein, due to the impressive boom of his records sales. Continue reading at www.todotango.com…

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Héctor Varela. Argentine Tango miusic selected by Marcelo Solis. Escuela de Tango de Buenos Aires.

“Mi Dolor” by Héctor Varela y su Orquesta Típica, 1953.

Héctor Varela. Argentine music at Escuela de Tango de Buenos Aires.Héctor Varela

Bandoneonist, leader, arranger and composer
(29 January 1914 – 30 January 1987)

Luis Adolfo Sierra tells us in his book Historia de la orquesta típica: «Héctor Varela, lead bandoneon and arranger of the Juan D’Arienzo Orchestra, for ten years, identified himself with the trends of a genuine traditional origin, and his orchestra boasted, as major attraction, the precision of a difficult technical performance, in the middle of a very personal hasty rhythmic beat». And Jorge Palacio (Faruk) added: «And that is, exactly, what Varela strove for during his tango career: to play with his orchestra for dancers».

He was born in Avellaneda where he spent all his childhood and youth. He graduated as accountant but he never worked as such. He had his first studies of bandoneon with the teachers of his neighborhood, he later attended the conservatory led by maestro Eladio Blanco with whom, time later, he would play at the bandoneon section of Juan D’Arienzo. Continue reading at www.todotango.com...

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