Алиса Игнатьева (Alisa Franka) - Yo Soy Maria / Я - Мария! (автор - Астор Пьяццола) | Текст песни

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• Алиса Игнатьева (Alisa Franka)
• Yo Soy Maria / Я - Мария! (автор - Астор Пьяццола)

Live Alibi Club.

Из танго-оперы (танго-оперетты) "Maria de Buenos Aires" (1968).

https://en.wikipedia.org/wiki/Mar?6?a_de_Buenos_Aires

María de Buenos Aires is a tango opera (tango operita) with music by Ástor Piazzolla and libretto by Horacio Ferrer which premiered at the Sala Planeta in Buenos Aires in May 1968.

The surreal plot centers on a prostitute in Buenos Aires, Argentina; the second half takes place after her death. The characters include María (and, after her death, the Shadow of María), a singer of payadas, various members of the Buenos Aires underworld, a poet narrator who is also a goblin-like duende, several marionettes under his control, and a circus of psychoanalysts. Several elements of the libretto suggest parallels between María and Mary, the mother of Jesus (in Spanish, María) or to Jesus himself.

While certainly not in the narrow sense an opera ballet, because the dance is tango rather than classical ballet, it falls within the tradition of having set dance pieces integral to an operatic work.[citation needed]

The music draws on the nuevo tango idiom for which Piazzolla is famous. The original idea for the story was conceived by Piazzolla's then lover, Egle Martin, who was married to Eduardo "Lalo" Palacios. The title role was originally conceived for Martin, but while Piazzolla was still composing the operita, he and Martin broke up after he asked her husband for her hand at Christmas in 1967. According to Martin, Piazzolla said to Lalo, "She is music, she can't belong to anybody, no she is music, she is music, and that's me." After their rift a replacement was desperately needed, but Piazzolla soon met folksinger Amelita Baltar at the Buenos Aires nightclub "Nuestro Tiempo", formerly called "676" and once Piazzolla's home base in Argentina. Baltar's identification with the character Maria paired with her beauty and captivating stage presence made her ideal.[citation needed]

The piece is written for at least three vocalists (one of whom, the narrator, speaks rather than singing). For the orchestration Piazzolla augmented his current working quintet: Piazzolla (bandoneón), Antonio Agri (violin), Jamie "El Russo" Gosis (piano), Oscar Lopez Ruiz (guitar) and Kicho Díaz (double bass); with viola, cello, flute, percussion, vibraphone and xylophone, and another guitar. Maria de Buenos Aires has often been performed with dancers as well as the musicians.[citation needed] There are several extant arrangements, including Piazzola's own and one by Pablo Ziegler.
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Yo soy María de Buenos Aires!
De Buenos Aires María ¿no ven quién soy yo?
María tango, María del arrabal!
María noche, María pasión fatal!
María del amor! De Buenos Aires soy yo!

Yo soy María de Buenos Aires
si en este barrio la gente pregunta quién soy,
pronto muy bien lo sabrán
las hembras que me envidiarán,
y cada macho a mis pies
como un ratón en mi trampa ha de caer!

Yo soy María de Buenos Aires!
Soy la más bruja cantando y amando también!
Si el bandoneón me provoca... Tiará, tatá!
Le muerdo fuerte la boca... Tiará, tatá!
Con diez espasmos en flor que yo tengo en mi ser!

Siempre me digo "Dale María!"
cuando un misterio me viene trepando en la voz!
Y canto un tango que nadie jamás cantó
y sueño un sueño que nadie jamás soñó,
porque el mañana es hoy con el ayer después, che!

Yo soy María de Buenos Aires!
De Buenos Aires María yo soy, mi ciudad!
María tango, María del arrabal!
María noche, María pasión fatal!
María del amor! De Buenos Aires soy yo!

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