Yo soy así, Tita de Buenos Aires


Rosetta Records 03/16/2018 CD
Movie Film release: 2017
 

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# Track   Duration
1.Se Dice de Mi3:10
2.Pipistrela2:06
3.La Muchachada del Centro2:23
4.Nostalgias3:54
5.Ahora Te Llaman Lou Lou2:28
6.Titine1:17
7.Foxtrot Mua Mua Mua1:46
8.Tango 19401:29
9.Yo Soy Asi Pa'l Amor1:46
10.Mi Papito2:18
11.Trio Bataclan1:35
12.Valsecito Vitrola1:32
13.Bailarinas Tabaris1:27
14.Piano Recepcion Castillo1:33
15.Tango Franela1:58
16.Quevachache2:14
17.Tango Hot2:07
18.Tango de Eva y Tita1:55
19.El Trenecito1:31
20.Club de Pescadores1:51
21.Despedida de Iriondo1:06
22.Revolucion '551:26
23.Potpourrit Tita3:02
24.Cambalache3:07
25.Tita Despierta1:29
26.Ni Siquiera un Hijo1:32
27.Volver2:21
28.Se Dice de Mi (Remix)3:36
 57:58
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Yo soy así, Tita de Buenos Aires

Rosetta Records presents “Yo soy así, Tita de Buenos Aires” by composer Osvaldo Montes

Rosetta Records presents “Yo soy así, Tita de Buenos Aires” by composer Osvaldo Montes

Osvaldo Montes approaches to “Yo soy así, Tita de Buenos Aires” from three complementary fronts. The first one is devoted to working alongside Mercedes Funes, an actress without musical training who ared to get wholeheartedly under Merello’s skin, including performing her immortal songs.
She is, without a doubt, the film’s soul, astonishing in her bravery and freshness, and helped by the composer’s complicity and unwavering dedication. His second task was to put into context the movie’s times through a series of narrative themes, composed by himself, where he dares to write foxtrots, tangos, waltzes and any sort of musical element useful to set the stage.
This second part includes a revisited version of the classic theme Volver, performed emotionally by Funes and Leonardo Pastore, in their respective roles as Tita and Carlos Gardel. It is a beautiful film climax here Morello sings to an audience formed by all the already gone people who were important in her life.
However, Montes doesn’t resist some experimentation, and for the end credits he weaves a version of They say about me, re-titled as Remix, where he uses electronic elements in an original attempt to update a song which was already a reference.
There is still a third front, the score, which Montes does not forget during recording, divided between Buenos Aires and Madrid.
It’s worth to mention pieces as Revolution ’55, on piano and bandoneon, or Potpourri Tita, which begins with a beautiful clarinet solo.
The strings are also used in Ni siquiera un hijo, where the heroine evokes her sacrifices in life, especially the fact of not being a mother as the price to pay for a life of success.
This is something also addressed from a melancholic point of view through piano and strings in an exquisite, delicate theme, Tita, despierta.
A golden touch for Osvaldo Montes’ career, whose work here provides a show of respect for one of his country’s most charismatic performers and, at the same time, reminds us of his unconditional nature as a film composer.
A real luxury.


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