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La puñalada

La puñalada is a Milonga written by Pintín Castellanos and recorded by Osvaldo Fresedo in 1950. Osvaldo Fresedo has recorded La puñalada as an instrumental Milonga.
“La Puñalada,” meaning “The Stab” in English, evokes a visceral sensation of sudden betrayal or deep emotional pain. The rhythm captures the intensity of an unexpected moment that cuts through the heart, leaving a lingering ache. Each note dances like a blade, weaving a tale of passion, loss, and the haunting shadows of love.

Milonga

Style

Osvaldo Fresedo

Orchestra

Instrumental

Singer

Celedonio Flores

Author

Pintín Castellanos

Composer

1950/12/19

Date

Instrumental
Instrumental
Osvaldo Fresedo
Osvaldo Fresedo

Discover Other Orchestras

Edgardo Donato – La paisanita – 1930/1/1
Edgardo Donato – Maria (4) – 1937/7/16
Edgardo Donato – En el silencio de la noche (2) – 1930/1/1
Edgardo Donato – Felicia – 1930/1/1
Edgardo Donato – Dulce amiga – 1931/1/1
Héctor Varela – Silueta porteña – 1956/5/18
Héctor Varela – Lonjazos (Rezo gaucho) – 1956/7/12
Héctor Varela – El choclo – 1956/11/29
Héctor Varela – El destino la llevó – 1959/12/2
Héctor Varela – A tres bandas – 1952/9/19
Ricardo Tanturi – Me llaman El Zorro – 1942/12/4
Ricardo Tanturi – Bien criolla y bien porteña – 1945/7/13
Ricardo Tanturi – Recuerdo – 1942/11/4
Ricardo Tanturi – De seis a siete – 1945/1/22
Ricardo Tanturi – Pocas palabras – 1941/6/16
Roberto Firpo – Que salga el toro – 1927/11/16
Roberto Firpo – Ave sin rumbo – 1932/3/10
Roberto Firpo – Joyita de arrabal – 1928/3/15
Roberto Firpo – Recordando lo pasado – 1934/6/15
Roberto Firpo – Norah (2) – 1930/9/22

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.

La puñalada recorded by other Orchestras

La puñalada recorded by other Orchestras

1950/12/19 – Vamos
vamos
zaino viejo – Osvaldo Fresedo
1950/12/18 – La trampera – Miguel Calo
1950/12/18 – Murmullos (Murmuyos) – Miguel Calo
1950/12/18 – Buen amigo – Julio De Caro
1950/12/18 – Soy bailarin – Julio De Caro
La punalada – 1937/4/27 – Juan D-Arienzo – Instrumental
La punalada – 1951/9/12 – Juan D-Arienzo – Instrumental
La punalada – 1943/11/23 – Juan D-Arienzo – Instrumental
La punalada – 1963/12/10 – Juan D-Arienzo – Instrumental
La punalada – 2015/1/1 – Juan D-Arienzo – Instrumental
La punalada – 1950/12/19 – Osvaldo Fresedo – Instrumental
La punalada – 1955/9/16 – Jose Basso – Instrumental
La punalada – 1967/4/18 – Hector Varela – Instrumental
La punalada – 1949/7/27 – Cuarteto Tipico Roberto Firpo – Instrumental
La punalada – 1987/1/1 – Nuevo Quinteto Real (Horacio Salgan) – Instrumental

Letra del Milonga La puñalada

Mentan los que saben
que un malevo
muy de agallas
y de fama
bien sentada
por el barrio
de Palermo
cayó un día
taconeando
prepotente
a un bailongo
donde había
puntos bravos
pa’l facón.

Lo empezaron a mirar
con un aire sobrador
pero el mozo, sin chistar,
a una puerta se arrimó.

Los dejó sobrar.
Los dejó decir.
Y pa’ no pelear
tuvo que sufrir.

Pero la pebeta
más bonita,
la que estaba
más metida
en el alma
de los tauras,
esa noche
con la vista
lo incitaba
a que saliera
a darles dique
y a jugarse
en un tango
su cartel.

Se cruzó
un gran rencor y otro rencor
a la luz
de un farolito a querosén
y un puñal
que parte en dos un corazón
porque así
lo quiso aquella cruel mujer.

Cuentan los que vieron
que los guapos
culebrearon
con sus cuerpos
y buscaron
afanosos
el descuido
del contrario
y en un claro
de la guardia
hundió el mozo
de Palermo
hasta el mango
su facón.

English lyrics of the Milonga "La puñalada"

Those who know tell
that a tough guy,
very bold
and with a well-established
reputation
in the Palermo neighborhood
stepped in one day,
swaggering,
assertive,
to a dance
where there were
tough guys
ready for the knife.

They began to eye him
with an arrogant air,
but the young man, without a word,
moved close to a door.

He let them exaggerate.
He let them speak.
And to avoid fighting
he had to endure.

But the prettiest girl,
the one who was
deepest in the soul
of the tough guys,
that night
with her glances
urged him
to come out,
show them up,
and risk his reputation
in a tango.

A great resentment crossed,
and another resentment,
under the light
of a small kerosene lamp,
and a dagger
that splits a heart in two
because that’s what
the cruel woman wanted.

Those who saw it tell,
that the tough guys
slithered
with their bodies,
eagerly sought out
the opponent’s carelessness,
and in a moment
of lowered guard,
the man from Palermo
plunged his knife
all the way in.

La puñalada by Celedonio Flores

La puñalada is a Tango written by Celedonio Flores and composed by Pintín Castellanos.



Story behind the Tango La puñalada

The tango ‘La puñalada’ telescopes a dramatic scenes set in Buenos Aires’ Palermo neighborhood, where a well-known tough figure from the area steps into a milonga brimming with competitive spirit. The protagonist, facing the scrutinizing eyes of the attendees, opts to avoid confrontation initially by keeping to himself near a door. However, the taunts persist, and the gaze of the prettiest girl in the room, entangled with the bravado of the men, spurs into action, propelling him into a challenge that culminates in a fatal, heart-splitting knife fight under the dim light of a kerosene lamp.



Symbolism of La puñalada

‘La puñalada’—the stab—pierces through the façade of machismo to reveal the tragic consequences of pride and jealousy. The symbolic use of the ‘puñal’, a knife, represents betrayal and the violent resolution of conflict. The dance and festivity of the milonga backdrop starkly contrast the dangerous reality of the characters’ lives, underlining the fine line between festivity and feuding in this subculture. The incitement by the admired woman adds a layer of amorality, as her desires catalyze the deadly outcome, encapsulating the often-fatal influence of passion.



La puñalada in historic Context

By the mid-20th century, Argentina was rife with cultural expressions that spoke to the urban experience, particularly in Buenos Aires. Milongas were not just dance venues but cauldrons of social interactions, personal rivalries, and displays of prowess. ‘La puñalada’, set in this era, captures this peculiar socio-cultural milieu, emphasizing the violent bravado that often defined masculinity within certain strata of Argentine society. The tango, as both dance and musical genre, served as a narrative form to comment on these social dynamics, with Palermo offering a real-life canvas rich with tales of love, rivalry, and tragedy.



Celedonio Flores

Celedonio Flores was a celebrated Argentine poet and tango lyricist known for his vivid portrayals of life in Buenos Aires.