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The tanguera Ada Falcón made her stage debut in 1910 at the age of five. Known then as La joyita argentina (The Little Argentine Jewel) she was an immediate hit as a singer during interludes between acts in Buenos Aires stage productions. At the age of thirteen, Ada made her first film and became an immediate star.
Her voice was mezzo-soprano, and so has a profundity not shared by the more usual women sopranos. When she sings a sad tango, there is nonetheless a kind of playfulness in her voice that seems to make fun of the possibilities for betrayal and desperation that fill so many tango lyrics. When she is singing of the disappointment life can bring…when she’s seen how the love she’s given away has then been thrown away…now that she’s given up what she had in such abundance as a child: innocence, trust, laughter…now that the only thing she has left from that time is the memory of the madreselva, the honeysuckle that grew up a wall, to the flowers of which she confided her closest secrets…when there’s nothing left at all, Ada still sings with a smile in her voice, fresh and genuine, and with a suggestion of jaded desire for the person to whom she is singing.
She is a Judy Garland-like figure. Evidently she did not attend school. Rather she had personal teachers who worked with her when she was not making movies or singing or making records. She was also quite remarkably beautiful, notably so. By the time she was in her twenties, she was driving around Buenos Aires in a fast, red luxury convertible, she owned a fabulous three-story home in the Recoleta neighborhood, and she was appearing in public wrapped in fur and glittering with jewels. In the early thirties, she made approximately fifteen recordings a month. She was a superstar, and when you listen to her recordings you understand why. There are few singers in any genre who approach their songs with as much casual authority, yet fine artistic judgment, as Ada Falcón.
She was not as successful in matters of love.
She fell for Francisco Canaro, who was himself one of the most successful tango orchestra leaders of the twenties and thirties. This man’s music is extremely popular to this day. Many of Falcón’s greatest recordings were made with Canaro, and I have listened to most of them, wondering how much of the passion that is so evident in her voice came about because Canaro himself was standing near her as she sang, behind her, watching her and marveling at the feeling with which she gave him back the songs that he had given her.
For an example, listen to Tengo Miedo, in which Falcón sings, “Tu cariño me enloquece,/tu pasión me da la vida./Sinembargo tengo miedo./Tengo miedo de quererte.” (“Your affection drives me wild,/your passion gives me life./Nonetheless I’m afraid./I’m afraid to love you.”)
In 1943, at the age of thirty-eight, at the peak of her career, Falcón abandoned it. Her retirement was sudden, completely unexpected and extremely strange. She began to appear on the streets of Buenos Aires in disguise, it seemed, her head swathed in scarves, shawls hanging about her shoulders, her considerably lovely eyes hidden behind slab-like sunglasses. She stopped recording. There were reports in the newspapers about strange nighttime peregrinations, about her odd dress, her raving. What was more unexpected was that she abruptly left Buenos Aires one day in the company of her mother, traveled to Cordoba, Argentina and there entered the Molinari Convent of Franciscan nuns.
There is a great deal of speculation about her decision to leave show business, the life she had known almost since birth, and to enter the contemplative life under vows of poverty, chastity and obedience. Most center upon her love for Canaro. Because Canaro had a wife.
Evidently Falcón had been very guilt-ridden about her affair with a married man, yet overwhelmed by the love she felt for him. She had pleaded with Canaro to divorce his wife so that she could marry him. Canaro had agreed, but did not actually go through with the divorce action. He kept Falcón on one arm and his wife on the other, for years. There were family reasons, Canaro said. The Church, you see. We just have to wait for a while to keep it respectable. Careers. Obligations. Falcón waited, until the day on which Canaro admitted to her that he would never leave his wife under any circumstances.
Falcón, the theory says, went mad. She went to the streets, wandered the streets, swathed in craziness. Shortly thereafter, her mother took her away and she entered the convent.
Ada Falcón died in 2002, at niney-six, in the convent in Cordoba. She seldom left the convent, she never recorded another song, and it’s my guess that she never recovered her heart.
Terence Clarke’s seventh work of fiction, the novel The Notorious Dream of Jesús Lázaro was published this spring.
Astor Piazzolla (a master of the bandoneón, the concertina-like instrument that many consider the soul of tango) revolutionized tango in ways that either electrified his numberless fans (most of them outside of Buenos Aires, Argentina, which is the home of tango) or infuriated his many detractors (most of them inside Buenos Aires). He once remarked how dismaying it was to him to be able to fill every seat at the huge Olympia Theater in Paris, while barely thirty people — and many of them loudly hostile — would come to see him in a club in Buenos Aires.
Astor brought into tango many elements of sophisticated classical music that it had never heard before. Fugue, counterpoint, extraordinary poly-rhythms and dissonances that few of the usual tango musicians in Buenos Aires — as fine as surely they were — could even comprehend. Indeed Astor spoke of his own compositions as “music based on tango”, rather than as tango itself, and this is a fair judgment.
But woe betide the tango fan who does not understand the importance of traditional tango to Astor’s work. Astor was, after all, the principal arranger for several years for the renowned Buenos Aires orchestra of Anibal Troilo, himself a truly innovative composer.
The noted tango composer and pianist Osvaldo Pugliese was a great fan of Astor, and vice versa, although their styles of tango were markedly dissimilar. In his book Astor Piazzolla: A Memoir (compiled from interviews by Natalio Gorin), Astor writes “I wrote a special arrangement of my ‘Adiós Nonino,’ and Osvaldo looked clueless — he couldn’t play a note. Later I tried to play [Osvaldo’s] ‘La Yumba’ his way and I couldn’t. I felt bad, as if I’d dirtied his music…”
There was a further quite special moment earlier in Astor’s life, when he met another tango revolutionary, Carlos Gardel. Generally regarded as the greatest singer of tango ever, “Charley”, as Astor called him, was an international recording and film star when he met the thirteen year-old Astor Piazzolla in New York City, where Astor and his parents Vicente and Asunta were living. Vicente had taken his family from Argentina to New York in 1924 (when Astor was three) in order to find work, and they lived on the Lower East Side (ironically, near Astor Place) for many years.
Astor was a scruffy kid with a limp caused by an accident of birth in one foot, which required surgeries throughout his childhood. He walked funny, he was little, and he talked funny with an Argentine accent. He got into a lot of fights.
Astor began playing the bandoneón in New York at his father Vicente’s insistence, and as a thirteen year-old in 1934, ever alert to job possibilities, he got work as an errand boy on the set of El día que me quieras. This was one of Carlos Gardel’s several musical comedies that were filmed at Paramount’s Astoria, New York studios. Within a few days, Astor and the great Charley became pals.
Astor told Charley that he played bandoneón. As a result, the singer and his musicians tutored Astor on his instrument, and indeed Astor accompanied Charley on a couple of occasions at the Campoamor Theater on Fifth Avenue in Manhattan. Charley thought so well of Astor that he gave the boy a bit part in El día que me quieras. Gratefully, Vicente Piazzolla, an amateur wood carver, made a small carving of an Argentine gaucho with a guitar, which Astor delivered to Charley.
Charley was killed in a fiery airplane accident in Colombia on June 24, 1935. Many years later, Astor received a message from his very first bandoneón teacher, Andrés D’Aquila, who still lived in New York. Andrés had been passing by a pawnshop in Manhattan and had spotted a small wood carving of a gaucho with a guitar in the window. Curious, he looked at it more carefully and saw the name “Vicente Piazzolla” carved into its base. The carving itself was charred in many places, the evidence that it had been in a fire. Next to the figure was a hand-lettered sign that read “This belonged to an Argentine tango singer.”
Andrés went into the shop, to buy the gaucho for Astor. But the price was $20.00, money that Andrés did not have on him that day. The shop owner agreed to hold the carving overnight. But when Andrés came back the next day, the gaucho was gone, sold.
In his memoir, Astor writes, “I never lost hope that I would find [the carving] and that whoever has it some day would call me.” That never happened, and among the gifts offered by a fan to a performer, that gaucho carving, wherever it is, surely conveys a far more personal artistic affection — equally to the young prodigy who delivered it and his mentor the immortal star who died with it — than almost any such gift ever could provide.
Terence Clarke’s recently completed screenplay Astor & Charley is based on these events. This piece appeared originally in Huffington Post.
The news a year ago that the Chilean government exhumed Pablo Neruda’s remains, to determine whether or not his death was caused by poisoning, brought a new, but not surprising, twist to Neruda’s life, even forty years after his demise.
Neruda died just days after his friend Salvador Allende, the democratically elected president of Chile, was murdered in the 1973 coup that brought General Augusto Pinochet to power. Neruda had been in poor health for some years, and it was assumed that he died of natural causes that perhaps were worsened by the emotional trial of losing such a close compatriot and friend.
But Neruda was no stranger himself to extreme punishment for his political views, and rumors have circulated since his death that he too was murdered while in hospital after Allende’s death, also on direct orders from Pinochet. The current ongoing government inquiry aims to determine whether Neruda indeed died on his own, or was assassinated.
Neruda was almost killed in 1949, when he was already a world-famous poet and a senator in the Chilean congress. Having been elected as a Communist, he had then been asked by Gabriel González Videla, the leftist candidate for president in the 1946 elections, to become his campaign chairman, while maintaining his seat in Congress. Neruda agreed and, bringing the Communist vote to the leftist coalition supporting González Videla, he helped ensure González Videla’s victory.
Once in office, however, González Videla abandoned the very supporters that got him elected. He not only failed to enact the policies for which he won office, he actively turned against them. The ongoing Cold War between western democracies and the Soviet Union brought great pressure upon González Videla, causing him, essentially, to betray his own electorate. He became the trinket of and enforcer for the Chilean wealthy and the U.S. (especially American mining and other corporate interests in Chile.) Disgruntled national figures like Pablo Neruda were basically marginalized.
Pablo Neruda was an extremely colorful, humorous and celebratory man who was not about to take such treatment without a response. He wrote an inflammatory article for a Venezuelan publication, in which he denounced González Videla’s presidency. On January 6, 1948, he stood up on the floor of Congress and delivered a stem-winder of a speech in which he accused the president of political betrayal, cowardice and even genocide against his own people. González Videla had re-opened a concentration camp that had been used by an earlier president to incarcerate homosexuals. Located in the appropriately named coastal town of Pisagua (Pisswater), the camp was famous for its miserable, even murderous conditions. In his speech, Neruda gave the names of all 628 prisoners being held there, many of them miners from the Atacama Desert region that had elected Neruda. (This region later became world-famous for the 2010 rescue of miners who had been trapped underground for 68 days.)
Within weeks of this speech, González Videla got the Chilean Supreme Court to strip Neruda of his senator-ship. His home in Santiago was set ablaze, causing him and his second wife Delia del Carril to go into hiding. In March 1949, after a year spent in isolation in various safe-houses around the country, Neruda had to run for his life. He escaped from Chile into Argentina, on horseback – escorted by a group of local trackers – through the high reaches of the Andes Mountains. It was the beginning of winter, and during this harrowing crossing, Neruda came close to death on a couple of terrifying occasions. He did make it to Argentina, however, and eventually was re-united with Delia in Paris.
On April 25, 1949, at the World Congress of Peace Forces at the Salle Pleyel in Paris, Neruda was introduced to an astonished audience. Everyone – including Gabriel González Videla – had assumed that he was dead. Amused by the opportunity to put that rumor to rest, Neruda reveled in the introduction he was given, by none other than Pablo Picasso. The audience erupted in sustained, noisy applause.
Now, there is controversy about the exhumation of Neruda’s remains. All the principal players in the 1973 military coup are dead, and democracy has returned to full strength in Chile. So, some commentators say that there is little good to be served in bringing up those murderous times yet once more. But there is at least one thing that will be served quite well. Ultimately, history seeks the truth. If Pablo Neruda died of illness, it leaves Augusto Pinochet innocent of at least one gruesome crime. If Neruda was assassinated, Pinochet’s legacy will be darkened even more than it already is…and appropriately so.
Incidentally, I first learned of Pablo Neruda’s escape when I began researching his life for a novel I planned to write about him. For me, the challenge lay in how to write a novel from the point of view of one of the greatest imaginative minds of the 20th century. This was either extreme hubris on my part or plain nuttiness. But I wanted to present Neruda’s vivid, unruly imagination, and to show how it could both exacerbate and ameliorate the extreme danger in which he and the others found themselves, deep in the disastrous mountains. That was the plan. That’s what the novel would describe.
Pablo Neruda won the Nobel Prize for Literature in 1971. His fame now is greater than ever.
Terence Clarke is doing the research for a new novel titled The Splendid City, in which Pablo Neruda is the main character. The novel is an imagining of Neruda’s 1949 escape from Chile. This piece appeared originally in Huffington Post.