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Gólgota

Gólgota is a Tango written by Rodolfo Biagi and recorded by Rodolfo Biagi in 1938. The Tango Gólgota is written by Rodolfo Biagi, Rodolfo Biagi has recorded Gólgota with the singer Teófilo Ibáñez.
“Gólgota,” or “Golgotha” in English, whispers tales of ancient hillsides bathed in twilight’s somber hue. This name evokes the weight of sacrifice, a place where souls once stood at the edge of eternity. In its melody, one hears the echoes of silent stories, where passion and penance intertwine in a haunting, timeless dance.

Tango

Style

Rodolfo Biagi

Orchestra

Teófilo Ibáñez

Singer

Francisco Gorrindo

Author

Rodolfo Biagi

Composer

1938/8/19

Date

Teófilo Ibáñez
Teófilo Ibáñez
Rodolfo Biagi
Rodolfo Biagi

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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.

1938/8/19 – El Incendio – Rodolfo Biagi
1938/8/18 – Mi verdad – Enrique Rodriguez
1938/8/25 – El tentador – Roberto Firpo
1938/8/25 – En el desierto – Roberto Firpo
1938/8/25 – Indio sacale el pelo – Roberto Firpo

Lyrics Translation of the Tango Gólgota

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

Letra del Tango Gólgota

Yo fui capaz de darme entero y es por eso
que me encuentro hecho pedazos,
y me encuentro abandonao.
Porque me di, sin ver a quién me daba,
y hoy tengo como premio
que estar arrodillao.
Arrodillao frente al altar de la mentira,
frente a tantas alcancías,
que se llaman corazón;
y comulgar en tanta hipocresía,
por el pan diario,
por un rincón.

Arrodillao, hay que vivir,
pa’ merecer algún favor;
que si de pie te ponés,
para gritar
tanta ruina y maldad.
Crucificao, te vas a ver,
por la moral de los demás;
en este Gólgota cruel,
donde el más vil,
ése, la va de Juez.

No me han dejao
más que el consuelo de mis noches,
de mis noches de bohemia,
mezclar sueños con alcohol.
Ni quiero más, me basta estando solo,
teniendo por amigo
un vaso de licor.
Que por lo menos con monedas he comprado,
a quién no podrá venderme,
quién me prestará valor
para cumplir en este circo diario,
con las piruetas
de tanto clown.

English lyrics of the Tango "Gólgota"

I was able to give myself completely, and that’s why
I find myself shattered,
and I find myself abandoned.
Because I gave, without seeing to whom I was giving,
and today I am rewarded
by being on my knees.
Kneeling before the altar of lies,
before so many piggy banks,
called hearts;
and to commune in so much hypocrisy,
for daily bread,
for a corner.

Kneeling, one must live,
to deserve some favor;
because if you stand up,
to shout
so much ruin and evil.
Crucified, you’ll see yourself,
by the morals of others;
in this cruel Golgotha,
where the vilest,
he plays the Judge.

They’ve left me
nothing but the consolation of my nights,
my nights of bohemia,
mixing dreams with alcohol.
Nor do I want more, I suffice alone,
having as a friend
a glass of liquor.
That at least with coins I’ve bought,
who cannot betray me,
who will lend me courage
to perform in this daily circus,
with the stunts
of so many clowns.

Gólgota by Francisco Gorrindo

Gólgota is a Tango written by Francisco Gorrindo and composed by Rodolfo Biagi.


Story behind the Tango Gólgota

The lyrics of “Gólgota” paint a poignant picture of sacrifice and disillusionment. The narrator describes giving himself completely, only to be left in pieces and feeling abandoned. This self-sacrifice, invested without discernment in its recipients, results in a betrayal that leaves the narrator kneeling before the “altar of lies,” symbolizing the false values and hypocrisy he encounters. The emotional depth of the tango is expressed through this narrative of personal devastation and disillusionment with societal values.


Symbolism of Gólgota

The title “Gólgota” refers to Calvary, the site outside Jerusalem’s walls where Jesus was crucified. This metaphor extends throughout the tango lyrics, portraying the narrator’s life and struggles as akin to a crucifixion, endured at the hands of societal norms (“the moral of others”). Symbols like kneeling before the “altar of the lie” and being surrounded by “alcancías” (piggy banks) called hearts, suggest a society where love and human warmth have been replaced by materialism and hollow pretense. Crucifixion imagery intensifies the sense of betrayal and sacrifice—suggesting that standing upright and denouncing corruption leads to being metaphorically crucified.


Gólgota in historic Context

The timing of Gólgota’s composition in Argentina (1938) is significant, coming after the Infamous Decade, a period marked by political and economic instability. This milieu likely infused Gorrindo’s work with a profound cynicism regarding moral leadership and societal values, with the tango serving as a vehicle to critique the hypocrisy and corruption observed in his society. The reference to crucifixion and judgment by the vile who “play Judge” reflects a wider disillusionment with societal structures that fail to uphold justice and integrity.


Francisco Gorrindo

Francisco Gorrindo was an influential lyricist in the Argentine tango scene, known for his evocative and often sombre compositions.