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Cara sucia

Cara sucia is a Tango written by Francisco Canaro and recorded by Carlos di Sarli in 1952. Carlos di Sarli has recorded Cara sucia as an instrumental Tango.
“Cara sucia,” which translates to “Dirty Face,” is a poignant piece that dances between shadows and light, much like a tango on forgotten streets. The music echoes tales of resilience, with each note embodying the grit and grace of life’s constant struggle. It tells of hearts worn yet hopeful, undeterred by the dust of the world.

Tango

Style

Carlos di Sarli

Orchestra

Instrumental

Singer

Juan Andrés Caruso

Author

Francisco Canaro

Composer

1952/9/15

Date

Instrumental
Instrumental
Carlos di Sarli
Carlos di Sarli

Discover Other Orchestras

Rodolfo Biagi – Misa de once – 1940/10/15
Rodolfo Biagi – Lisón – 1944/4/11
Rodolfo Biagi – Te burlas tristeza – 1960/7/28
Rodolfo Biagi – Cruz diablo – 1927/8/22
Rodolfo Biagi – Santa Milonguita – 1955/11/4
Juan MAGLIO – Milonguero viejo – 1928/4/2
Lucio Demare – Humildad – 1953/1/27
Lucio Demare – Como se hace un tango – 1943/1/9
Lucio Demare – El aguacero – 1944/11/14
Lucio Demare – Al pasar – 1943/9/3
Lucio Demare – La racha – 1938/6/13
Astor Piazzolla – Suite Troileana 2
Zita – 1976/1/1
Astor Piazzolla – S.V.P. – 1955/1/1
Astor Piazzolla – Neotango – 1957/1/1
Astor Piazzolla – Marrón y azul – 1955/1/1
Astor Piazzolla – Verano porteño – 1987/1/1

Recommended

These Tangos, Valses, and Milongas were recorded around the same time. Take a look to discover what else this orchestra—or others—may have recorded during the same week or even on the exact same day.

Cara sucia recorded by other Orchestras

Cara sucia recorded by other Orchestras

1952/9/15 – A la luz del candil – Carlos di Sarli
1952/9/15 – Barba de choclo – Carlos di Sarli
1952/9/15 – Asi era mi novia – Carlos di Sarli
1952/9/16 – Yo soy el mismo – Horacio Salgan
1952/9/16 – Del uno al cinco – Horacio Salgan
Cara sucia – 1952/9/15 – Carlos di Sarli – Instrumental
Cara sucia – 1957/7/12 – Carlos di Sarli – Instrumental

Letra del Tango Cara sucia

Cara sucia, cara sucia, cara sucia
Te has venido con la cara sin lavar,
Esa cara tan bonita y picarona
Que refleja una pasión angelical.
Si tu cara fuera espejo de tu alma
Siempre sucia la debías de llevar
Y mis labios tuvieran que ser la fuente
Donde tu cara se tendría que lavar.

Anda a lavarte la cara
En la fuente del amor,
Y que el brillo de tus ojos
Igualen siempre a tus labios rojos…
Andá a lavarte la cara
Que deslumbra como el sol,
Y hasta el mismo San Antonio pecaría
Cara sucia, cara sucia,
Confesándote su amor.

Por tu audacia y tu figura de pillete
Por tu modo coquetón de caminar,
Por tu traza de traviesa pizpireta
Por tu modo malicioso de mirar.
Por tu rubia ensortijada cabellera
Por tu modo encantador de conversar,
Es motivo para que todos los mozos
Cara sucia, te critiquen al pasar.

English lyrics of the Tango "Cara sucia"

Dirty face, dirty face, dirty face
You’ve come here with your face unclean,
That pretty and mischievous face
Reflecting an angelic passion unseen.
If your face were a mirror of your soul,
Always dirty it should remain,
And my lips would be the fountain
Where your face should be washed clean.

Go wash your face
In the fountain of love,
And may the shine of your eyes
Match your red lips above…
Go wash your face
That dazzles like the sun,
And even Saint Anthony would sin
Dirty face, dirty face,
Confessing his love to begin.

For your boldness and your mischievous figure
For your flirtatious way of walking by,
For your hint of a cheeky grin
For your mischievous look, sly.
For your blonde curly hair
For your charming conversation’s delight,
Reason enough for all the lads
Dirty face, to critique you on sight.

Cara sucia by

Cara sucia is a Tango written by and composed by Francisco Canaro.

Story behind the Tango Cara sucia

Cara sucia tells the story of an endearing, mischievous young girl, recognized for her striking beauty and impish charm, especially noticeable in her unwashed face. Her playful nature and captivating aura invite both admiration and criticism alike. The lyrics paint a picture of a vivacious spirit, loved for her genuineness and innocence. The song captures a tender affection, blending admiration and gentle reproach, addressing the girl directly and urging her to find purity in the metaphorical “fountain of love.”

Symbolism of Cara sucia

The repeated phrase “cara sucia” or “dirty face” is central, symbolizing the innocence and authenticity of youth. It suggests a purity untouched by societal norms that demand outward cleanliness, underlining a theme of true beauty lying within. This is elevated by the metaphor of washing in the “fountain of love,” suggesting that the purity of emotion can cleanse and reveal deeper beauty. The frequent mention of the girl’s physical features and behaviors reflect societal attitudes towards beauty and charm, emphasizing innocence yet flirting with audacity.

Cara sucia in historic Context

Created in Buenos Aires, Argentina, in 1952, “Cara sucia” reflects post-war Argentine society, a time when tango music was exploring themes of nostalgia and human emotion. Buenos Aires itself, a vibrant metropolis, influenced tango’s evolution, focusing on the bittersweet and often playful nature of personal relationships. This period was marked by an exploration of identity and social class, themes subtly embedded in the girl’s carefree behavior and the admiration she provokes. Her actions are gently critiqued, offering insight into the cultural expectations placed on women at the time.

Francisco Canaro was a prominent tango composer and violinist, contributing significantly to the popularity of tango music in the early to mid-20th century. His works often captured the essence of Argentine cultural identity through their emotive and lyrical storytelling.