Fabrice Knecht Tango DJ

El ciruja

El ciruja is a Tango written by Ernesto de la Cruz and recorded by Francini-Pontier in 1950. The Tango El ciruja is written by Ernesto de la Cruz, Francini-Pontier has recorded El ciruja with the singer Julio Sosa.
“El Ciruja,” or “The Ragpicker,” is a tango full of life and melancholy. It tells the story of those who navigate the edges of society, collecting remnants of a world that has overlooked them. Through its poignant melodies, “El Ciruja” paints a vivid portrait of resilience, capturing the dignity and dreams hidden within a seemingly insignicant existence.

Tango

Style

Francini-Pontier

Orchestra

Julio Sosa

Singer

Alfredo Marino

Author

Ernesto de la Cruz

Composer

1950/3/7

Date

Julio Sosa
Julio Sosa
Francini-Pontier
Francini-Pontier

Discover Other Orchestras

Osmar Maderna – Sólo cerrazón – 1946/1/1
Osmar Maderna – El pillete – 1949/1/26
Osmar Maderna – Mimí Pinsón (Mimí Pinzón) – 1951/3/29
Osmar Maderna – Margarita Gauthier – 1947/2/20
Osmar Maderna – La cumparsita – 1950/5/17
Armando PONTIER – Verdemar – 1960/7/21
Adolfo Carabelli – El cantar de los gitanos – 1931/12/24
Adolfo Carabelli – Que salga el toro – 1931/10/2
Adolfo Carabelli – Pa’ que lagrimear – 1933/9/12
Adolfo Carabelli – Cuando canta mi guitarra – 1933/1/1
Adolfo Carabelli – Desconfianza – 1932/5/6
Alfredo De Angelis – Vieja luna – 1945/8/31
Alfredo De Angelis – Tan solo cuatro besos – 1967/4/3
Alfredo De Angelis – Esa noche – 1946/5/24
Alfredo De Angelis – El carrerito – 1981/1/1
Alfredo De Angelis – Pifia – 1955/12/13

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.

El ciruja recorded by other Orchestras

El ciruja recorded by other Orchestras

1950/3/7 – Quiero verte una vez mas – Osvaldo Pugliese
1950/3/7 – Ventanita de arrabal – Osvaldo Pugliese
1950/3/7 – Che bandoneon – Francini-Pontier
1950/3/6 – Siempre te recuerdo (2) – Cuarteto Tipico Roberto Firpo
1950/3/16 – Che bandoneon – Miguel Calo
El ciruja – 1951/12/6 – Carlos di Sarli – Instrumental
El ciruja – 1949/6/2 – Alfredo De Angelis – Julio Martel
El ciruja – 1967/1/1 – Jose Basso – Alfredo Belusi
El ciruja – 1950/3/7 – Francini-Pontier – Julio Sosa

Lyrics Translation of the Tango El ciruja

This is the translation of the Tango “El ciruja” from Spanish to English. The English lyrics of the Tango “El ciruja” have been done with AI.

Letra del Tango El ciruja

Como con bronca, y junando

de rabo de ojo a un costado,

sus pasos ha encaminado

derecho pa’l arrabal.

Lo lleva el presentimiento

de que, en aquel potrerito,

no existe ya el bulincito

que fue su único ideal.



Recordaba aquellas horas de garufa

cuando minga de laburo se pasaba,

meta punguia, al codillo escolaseaba

y en los burros se ligaba un metejón;

cuando no era tan junao por los tiras,

la lanceaba sin tener el manyamiento,

una mina le solfeaba todo el vento

y jugó con su pasión.



Era un mosaico diquero

que yugaba de quemera,

hija de una curandera,

mechera de profesión;

pero vivía engrupida

de un cafiolo vidalita

y le pasaba la guita

que le shacaba al matón.



Frente a frente, dando muestras de coraje,

los dos guapos se trenzaron en el bajo,

y el ciruja, que era listo para el tajo,

al cafiolo le cobró caro su amor.



Hoy, ya libre’e la gayola y sin la mina,

campaneando un cacho’e sol en la vedera,

piensa un rato en el amor de su quemera

y solloza en su dolor.

English lyrics of the Tango "El ciruja"

With anger and watching

sideways from the corner of his eye,

he directed his steps,

straight towards the suburb.

A hunch carried him

to that little field,

where the little place

that was his only dream no longer exists.

He remembered those hours of revelry

when he’d skip work,

engaged in petty thievery, hustling at the gambling game,

and fell deeply in love at the races;

when he wasn’t so hunted by the cops,

he’d gamble carelessly,

a woman would sing all his money away,

and she played with his passion.

She was a fancy girl

who worked as a cobbler,

the daughter of a healer,

a professional pickpocket;

but she was taken with

a guy who lived off others,

and she gave him the money

she stole from the thugs.

Face to face, showing their courage,

the two tough guys clashed downtown,

and the tramp, who was quick with a blade,

made the pimp dearly pay for his love.

Now, free from jail and without the girl,

watching a patch of sun on the sidewalk,

he thinks for a moment about the love of his girl,

and he sobs in his pain.

El ciruja by Alfredo Marino

El ciruja is a Tango written by Alfredo Marino and composed by Ernesto de la Cruz.



Story behind the Tango El ciruja

The narrative of “El ciruja” revolves around a man returning to his old neighborhood, filled with a mixture of anger and nostalgia. He discovers that the small dwelling, his former ideal, where he once lived, no longer exists. The lyrics delve into memories of his past life, marked by idleness, petty theft, and his involvement in gambling on horse races. He reminisces about a love affair with a woman embroiled in a relationship with a petty criminal, which ended in a violent confrontation. “El ciruja,” translating to “The Ragpicker” in English, serves as a metaphor for his scavenging lifestyle, one of drifting through life collecting scraps of joys and sorrows.



Symbolism of El ciruja

Symbolism in “El ciruja” is vivid, portraying a gritty picture of life in the margins. The ‘potrerito’ symbolizes lost innocence and past ideals, with the loss of his humble dwelling mirroring the disappearance of his youthful dreams. Metaphors of gambling connote risk-taking in life’s endeavors, whether in love or survival. The ‘manyamiento,’ referring to the act of deception or trickery, and ‘la lanceaba,’ suggesting exploitation, reflect the protagonist’s harsh realities of survival. The concluding scene, where he reminisces about lost love, highlights the enduring pain of emotional and physical scars.



El ciruja in historic Context

“El ciruja,” recorded in 1950, was conceptualized in post-World War II Argentina, a time characterized by significant social and economic transformation. This era saw the rise of urbanization and the accompanying challenges faced by lower-class citizens in Buenos Aires. The tango reflects the socio-economic disparities, capturing the essence of marginal lives. It also echoes the cultural ambiance of the arrabal, or suburbs, which played a significant role in the development of tango as a dance and musical genre expressing deep-seated emotions and social critique.



Alfredo Marino

Alfredo Marino was a prominent lyrical contributor to Argentine Tango, known for incorporating poignant tales of love, loss, and societal observation into his works.