Apparently, she spent her childhood in Porto Alegre and lived in Sao Paulo, Venezuela, and Buenos Aires. Malena de Toledo was a singer born probably in Chile or in the Province of Santa Fe in 1916, and died on January 23, 1950, in Montevideo. Manzi would have heard her sing in 1941, in Brazil, probably in São Paulo, although there are testimonies that say it was in Porto Alegre. The direct inspiration seems to have been Malena de Toledo, the artistic name of Elena Torolero. Lucio Demare, along with Juan D’Arienzo and Carlos Di Sarli were the musicians who since the late 1930s, developed the new tango musicality, oriented to dance and milonga, that characterized the 1940s. Additionally, an Argentinian singer, who lives in Brazil, is mentioned as the possible main character of the tango, who Manzi met during a trip.ĭespite this, Malena was one of the tangos that gave rise to the mythical “decade of the 40s” of tango and the “prodigious decade” of this Rioplatense style. However, the melodic line of “Malena” refers to “Chorus No.1 for the Guitar”, by the Brazilian composer Heitor Villa-Lobos, which was written in 1920. It was in the summer of 1942, in The Great Guindado, a bar of Acevedo and Libertador, located in front of the Zoo, that they had already broke it down. Then I sat in the cafe and I wrote it all at once, unpolished and without changing anything.
#Malena movie music how to
I thought: “Manzi is coming tonight and at least I am going to tell him how to start the tango”. Manzi had given me the verses 10 days ago. “I produced the music of “Malena” in no more than 15 minutes. Manzi, in turn, was influenced by French surrealism, and poets such as Pablo Neruda and Federico Garcia Lorca. With “Malena”, Homero Manzi introduced the metaphor of tango, influencing other lyricists such as Homero Expósito and Catulo Castillo. He can only feel her kindness, “You are better, much better than me”. He then tells her how he is moved by the cold and bitter emotion while she sings as if it were made “in the salt of remembrance”, and confessing at last in front of someone capable of exposing her pain in this way. In the chorus, the songwriter addresses Malena directly, to tell her what it feels like to hear her sing. Manzi believes Malena identifies herself in such a way with tango that it attributes to the quintessential tango essence and he states, “Malena’s sorrow is that of a bandoneon”. Manzi is impressed by the “dark tone” of Malena’s song, her “shadow voice”, her “shaky voice” and that leads her to sing “tango like no other”. The separation refers to Malena’s passionate way of singing tango. The lyrics were written by Homero Manzi which is split into two parts that are separated by a chorus. 3.2 Uses of the name linked to Malena (tango).For more guidance, see Wikipedia:Translation.You should also add the template to the talk page.A model attribution edit summary is Content in this edit is translated from the existing Spanish Wikipedia article at ] see its history for attribution. You must provide copyright attribution in the edit summary accompanying your translation by providing an interlanguage link to the source of your translation.
If possible, verify the text with references provided in the foreign-language article.
0 kommentar(er)
