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El conventillo

El conventillo is a Milonga written by Ernesto Baffa and recorded by Aníbal Troilo in 1965. The Milonga El conventillo is written by Ernesto Baffa , Aníbal Troilo has recorded El conventillo with the singer Tito Reyes.
“El Conventillo,” or “The Tenement,” evokes the vibrant heart of community life within its musical embrace. This piece paints a tapestry of shared lives and whispered tales, where rhythms echo the footsteps of neighbors and the laughter of children. Through its melodies, it captures the spirit of resilience and camaraderie found within the bustling walls of a communal dwelling.

Milonga

Style

Aníbal Troilo

Orchestra

Tito Reyes

Singer

Arturo De La Torre , Fernando Rolón

Author

Ernesto Baffa

Composer

1965/11/12

Date

Tito Reyes
Tito Reyes
Aníbal Troilo
Aníbal Troilo

Discover Other Orchestras

José Garcia – Motivo sentimental – 1944/10/2
José Garcia – Felicita – 1942/11/4
José Garcia – No creas – 1943/6/22
José Garcia – El mentiroso – 1942/1/23
José Garcia – El distinguido ciudadano – 1942/4/17
Francisco Rotundo – Nunca es tarde (Todavía estás a tiempo) – 1957/1/22
Francisco Rotundo – Ebrio – 1956/8/1
Francisco Rotundo – Las vueltas de la vida – 1952/10/23
Francisco Rotundo – Un remordimiento – 1955/8/25
Francisco Rotundo – Mal de amores – 1956/5/22
Horacio Salgán – Canchero – 1962/1/1
Horacio Salgán – Milonguero viejo – 1965/1/1
Horacio Salgán – La clavada – 1950/5/4
Horacio Salgán – Siga el corso – 1962/1/1
Horacio Salgán – Shusheta (El aristócrata) – 1963/1/1
Adolfo Carabelli – Ya vendra el día – 1932/9/27
Adolfo Carabelli – Cuatro palabras (2) – 1933/7/25
Adolfo Carabelli – Sinverguenza alabancioso – 1931/9/7
Adolfo Carabelli – Campanita del suburbio – 1933/1/1
Adolfo Carabelli – Mia – 1933/4/11

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.

1965/11/12 – Mi viejo el remendon – Anibal Troilo
1965/11/12 – Siempre no – Anibal Troilo
1965/11/12 – Trasnoche de ilusion – Anibal Troilo
1965/11/12 – Vals del jamas – Anibal Troilo
1965/11/18 – Solo tu voz – Juan D-Arienzo

Lyrics Translation of the Milonga El conventillo

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

Letra del Milonga El conventillo

Yo nací en un conventillo
de la calle Olavarría,
y me acunó la armonía
de un concierto de cuchillos.
Viejos patios de ladrillos
donde quedaron grabadas
sensacionales payadas
y, al final del contrapunto,
amasijaban a un punto
p’amenizar la velada.

Cuando pude alzar el vuelo,
pianté del barro al asfalto,
pretendí volar tan alto
que casi me vengo al suelo.
Como el zorro perdí el pelo
pero agarré la manía
de lofiar la gilería
y al primer punto boliao
con algún fato estudiao
dejarlo en Pampa y la vía.

Una noche, un tal Loyola
me embroco en un guay fulero,
batida, bronca, taquero,
celular, biaba y gayola;
di concierto de pianola
manyando minga’e solfeo
y, aunque me tengo por feo,
colgué mi fotografía
donde está la galería
de los ases del choreo.

Hoy que estoy en los cuarenta,
en el debe de la vida,
chapé una mina raída
que tiene más de la cuenta.;
ando en un auto polenta,
diqueándome noche y día
sin saber la gilería
que me está envidiando el brillo,
que nací en un conventillo
de la calle Olavarría.

English lyrics of the Milonga "El conventillo "

I was born in a tenement
on Olavarría street,
cradled by the harmony
of a concert of knives.
Old brick patios
where sensational payadas
were ingrained,
and at the end of the duel,
they’d seal the evening
to liven up the night.

When I could spread my wings,
I fled from the mud to the asphalt,
tried to fly so high
I almost hit the ground.
Like the fox that lost its fur
I picked up the habit
of loathing the shifty
and at the first confused stance,
with some well-studied fate
I’d leave them stranded at Pampa and the tracks.

One night, a guy named Loyola
trapped me in a nasty fight,
a raid, a ruckus, keeper,
cell phone, a hit, and prison;
gave a piano recital
with little knowledge of music theory
and, though I consider myself ugly,
I hung my photograph
in the gallery
of the theft aces.

Now that I’m in my forties,
in life’s deficit,
I snagged a worn-out gal
who has more than enough;
I drive a flashy car,
strutting night and day
unaware of the shifty
envying my shine,
that I was born in a tenement
on Olavarría street.

El conventillo by Arturo De La Torre, Fernando Rolón

El conventillo is a Tango written by Arturo De La Torre, Fernando Rolón and composed by Ernesto Baffa.



Story behind the Tango El conventillo

The lyrics of “El conventillo” narrate the life story of its speaker, who was born and grew up in a tenement (‘conventillo’) on Olavarría Street. These tenement houses were often crowded, full of life, and sometimes strife, representing a microcosm of working-class society. The song depicts how the harmonious and tumultuous sounds of his upbringing shaped his life—from the peaceful ‘concert of knives’, a metaphor for the interplay of everyday sounds, to the dynamic and spirited ‘payadas’ (improvised folk songs) that illustrated the vibrant cultural life amidst the building’s old brick patios.



Symbolism of El conventillo

“El conventillo” stands out for its rich use of language and symbolism to depict the gritty, yet spirited life of tenement neighborhoods. The “concert of knives” symbolizes a harsh upbringing amidst daily struggles, while the lively “payadas” reflect the cultural richness and resilience of the community’s spirit. Towards the end, the reflection on material wealth versus the richness of his cultural heritage emphasizes the lasting impact of his humble beginnings. Phrases like “dejarlo en Pampa y la vía” (leaving one deserted) creatively use local slang to convey experiences of betrayal or abandonment.



El conventillo in historic Context

Recorded in 1965, “El conventillo” emerges from a period when Argentina was experiencing significant social and political changes. The portrayal of life in a conventillo reflects the broader historical context of urban Argentina, particularly Buenos Aires, where such tenements were common and often housed the working class and immigrants. These places were melting pots of culture but also of socio-economic difficulties, which is vividly captured in the nostalgic reflection of the song. It paints a picture of the social dynamics and survival strategies of those times.



Arturo De La Torre, Fernando Rolón

Arturo De La Torre and Fernando Rolón are recognized for their contributions to Argentinian tango, infusing their works with rich narratives and cultural insights that reflect the Argentine identity.