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María Amelia Baltar, Amelita Baltar , (Buenos Aires, 1940) took tango to new artistic terrain in line with contemporary Argentina . His way of singing, which abreva folklore such as jazz and bossa nova, radically transformed the genre and opened another door in the renewal of the Buenos Aires sentiment made song.
Daughter of an aristocrat family coming to less, Amelita Baltar began her artistic career driven by need although in a wealthy atmosphere of Buenos Aires Barrio Norte. Learn guitar with master Vicente Di Giovanni and sing with María Contreras, and at the age of twenty-two he joined the Shadows Quintet with zambas and malbos that he had learned to love in a family farm in Junín. Hernán Figueroa Reyes, the historic artistic director of CBS, convinces her to record a solo album and begins to spin successfully on unconventional stages for the genre such as small theaters and café-concert. And then, Astor Piazzolla appears. It was a loving and creative relationship that Amelita defined “like living inside a volcano.” One that started with an already older Ástor admiring his “prawns” and ends with Amelita revolutionizing the tango, the actress, the diva, the medium of the talent of Piazzolla-Horacio Ferrer .More than a typical tango singer affected with rictus arabaleros , Baltar possessed an expressive and clear...iacute; sima diction, sophisticated and sensual. Something you can hear in “Milonga de la Annunciación”, “ Ballada para un loco ” —classic of the Argentine classics of 1969,” Popular Violets ” or “ The umbrellas of Buenos Aires” . And surely his voice in “Chiquilín de Bachín” promoted like no one that urban poetics that would resonate in “ Prayer for a sleeping child” by Almendra , and “ 11 and 6” by Fito Paez.
They say about Amelita Baltar
“Amelita Baltar belongs more to the urban sophistication of the 1960s than to the dense and endogamic culture of tango. It broke into a period of retreat of the genre, a stage of resistance in which the dissolution of the orchestras resulted in small formats that, freed from danceable functionality, ran into music to listen.” Mariano del Mazo at https://www.pagina12.com.ar/diario/suplementos/radar/9-8503-2013-01-06.html
“Tangueros think they never read a diary, not a magazine, not a anything... And one day they opened the door of their house and found that Buenos Aires was another and they didn't have music to write that new Buenos Aires”, at https://www.almagrorevista.com.ar/amelita-baltar-recuerda-astor-piazzolla
Publication Date: 24/09/2020
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