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Colibriyo (2)

Colibriyo (2) is a Tango written by Osvaldo Fresedo and recorded by Osvaldo Fresedo in 1933. The Tango Colibriyo (2) is written by Osvaldo Fresedo, Osvaldo Fresedo has recorded Colibriyo (2) with the singer Roberto Ray.
“Colibriyo (2)” translates to “Hummingbiro (2)” in English. This piece of music flutters like the delicate wings of a hummingbird, capturing the heart’s fleeting emotions and vibrant colors. Its melody dances with playful grace, weaving a tapestry of passion and light, reminiscent of a tango that speaks to the soul’s longing for beauty and joy.

Tango

Style

Osvaldo Fresedo

Orchestra

Roberto Ray

Singer

Eduardo Trongé, Alberto Pidemunt

Author

Osvaldo Fresedo

Composer

1933/3/16

Date

Roberto Ray
Roberto Ray
Osvaldo Fresedo
Osvaldo Fresedo

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Lyrics Translation of the Tango Colibriyo (2)

This is the translation of the Tango “Colibriyo (2)” from Spanish to English. The English lyrics of the Tango “Colibriyo (2)” have been done with AI.

Letra del Tango Colibriyo (2)

Por pelandra y feo
Te piantaron del Correo, ¡Reo!,
Y hoy sos un secante
Aunque que nunca laburaste, ¡Rante!
Me han contao que la otra tarde
Dejaste el conventiyo,
Pa´ hacerte el colibriyo
Y al prójimo mangar.

Estás hecho un gato
Roto el jetra y sin zapatos, ¡Pato!
Te asustó el trabajo
Y hoy tu salvación está en el “bajo”.
Pues seguís sin tocar mufa
Con otros colibriyos,
Con latas de membrillo
Plantaste tu “chalet”.

¡Colibriyo!.. ¡Colibriyo!
Cambiaste el conventillo,
Por la fábrica de sebo
De Palermo y Puerto Nuevo.
¡Colibriyo!.. ¡Colibriyo!
Sin medio en el bolsillo,
Morfando y sin cuchillo
Sos más camba que los Unzué.

English lyrics of the Tango "Colibriyo (2)"

For being ugly and shifty,
You were kicked out of the Postal, Convict!
And now you’re just a dry husk,
Though you’ve never worked a day, Scoundrel!
I’ve been told that the other day
You left your shanty,
To play the hummingbird,
And mooch off others.

You’ve turned into a wreck,
Gone in the liver and shoeless, Duck!
Work terrified you,
And now your salvation’s in the slum.
For you continue to avoid misfortune
With other hummingbirds,
With quince jelly cans,
You set up your “chalet”.

Hummingbird!.. Hummingbird!
You swapped the slum,
For the grease factory
In Palermo and Puerto Nuevo.
Hummingbird!.. Hummingbird!
Broke in your pocket,
Eating without a knife,
You’re meaner than the Unzué.

Colibriyo (2) by Eduardo Trongé, Alberto Pidemunt

Colibriyo (2) is a Tango written by Eduardo Trongé, Alberto Pidemunt and composed by Osvaldo Fresedo.


Story behind the Tango Colibriyo (2)

The lyrics of “Colibriyo (2)” narrate the story of a figure who seems to have fallen from grace. Once part of everyday society (perhaps at a job at ‘Correo’ – which translates to ‘Post Office’), he’s now shunned and deemed a ‘reo’ (criminal). The playful tone mixed with the structured rhythm typical of a tango song paints a picture of an individual’s transformation from a normal worker to a societal outcast. Frequent references to avoiding work and resorting to grifting or lower standards of living (“al prójimo mangar,” “sin medio en el bolsillo”) showcase a significant and perhaps involuntary shift in the protagonist’s life. He seems to be drifting through life, engaging in petty crimes with others like him, and settling in impoverished areas (mention of ‘Palermo’ and ‘Puerto Nuevo,’ parts of Buenos Aires).


Symbolism of Colibriyo (2)

The term “colibriyo” itself is a highlight, as “colibriyo” does not have a direct translation but in the context could symbolize frivolity or instability, comparing the protagonist to a hummingbird flitting from place to place. Further enriching the emotional landscape, phrases like “sin zapatos” (without shoes) signify extreme poverty, and “morfando y sin cuchillo” (eating without a knife), underline a lack of basic necessities, pointing towards a grim life of hardship. The transition from “conventillo” (diminutive for a communal living place) to “fábrica de sebo” (tallow factory) enhances the bleakness of his life shift, worsening rather than improving.


Colibriyo (2) in historic Context

Recorded in 1933, during a period of political and economic upheaval in Argentina, “Colibriyo (2)” reflects on the societal undercurrents of its time. The era was marked by the aftermath of the Great Depression and a buildup to the Infamous Decade characterized by fraudulence and conservative restoration. The tango’s lyrics hint at the marginalized factions within Buenos Aires, particularly reflecting on how the average and lower-class individuals may have felt disenfranchised both economically and socially. Places like Palermo and Puerto Nuevo are significant; these locations were authentic representatives of the extremes of wealth and poverty co-existing in the city. The text provides a voice to the ‘invisible’ segments of society during such troubled times.


Eduardo Trongé, Alberto Pidemunt

Eduardo Trongé and Alberto Pidemunt were influential figures in the Argentine tango scene, known notably for their ability to capture the essence of Buenos Aires’ societal pivots through their poignant lyrics.