Otra vez Esthercita

Otra vez Esthercita is a Tango written by Armando Pontier and recorded by Aníbal Troilo in 1968. The Tango Otra vez Esthercita is written by Armando Pontier, Aníbal Troilo has recorded Otra vez Esthercita with the singer Roberto Goyeneche.

“Otra vez Esthercita,” translated as “Once Again, Esthercita,” evokes a haunting yet tender melody that dances through memory. It speaks of a timeless longing, where moments are replayed with deep affection and nostalgic yearning. This piece captures a cycle of rediscovery, where each note gently unveils the enduring presence of Esthercita in the heart’s embrace.

Tango

Style

Aníbal Troilo

Orchestra

Roberto Goyeneche

Singer

Federico Silva

Author

Armando Pontier

Composer

1968/12/11

Date

Roberto Goyeneche

Aníbal Troilo

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Lyrics Translation of the Tango Otra vez Esthercita

This is the translation of the Tango ” Otra vez Esthercita ” from Spanish to English. The English lyrics of the Tango ” Otra vez Esthercita ” have been done with AI.

Letra del Tango Otra vez Esthercita

Sigue siendo Esthercita
pero no usa más percal,
ni sueña con champagne,
ni rueda al cabaret,
ni despierta piropos de tranway.
Sigue siendo Esthercita
usando ‘estrich’ como percal
viniendo en subte a Santa Fe, con fe.
como si la verdad
pudiera venderse en galerías.

Y los silbidos de la barra
y aquella esquina y el bajón
ahora son bocinas,
sábanas de nylon, resbalón.
Y sueña igual, en otro tono
y no de mala, no.
Porque nació desafinada,
y qué sé yo.

Cambian los paisajes y Esthercita
es al cabo siempre igual.
Un corazón sin niña
en un cuerpo sin dueño,
un traje afuera,
la noche adentro
y más adentro aún, donde más puede
la ternura y el perdón,
sigue siendo Esthercita
y no importa el percal.

English lyrics of the Tango " Otra vez Esthercita "

Esthercita remains the same,
but no longer wears calico,
nor dreams of champagne,
nor heads to the cabaret,
nor awakens catcalls from the tram.
Esthercita remains the same,
wearing stretch as her calico
taking the subway to Santa Fe, faithfully.
as though truth
could be sold in galleries.

And the whistles from the friends,
and that corner and the depression
are now car horns,
nylon sheets, a slip.
And she dreams the same, in a different tone,
and not in a bad way, no.
Because she was born out of tune,
what do I know.

The scenery changes and Esthercita
is ultimately always the same.
A heart without a child
in a body without an owner,
an outer garment,
the night inside
and deeper still, where more can
tenderness and forgiveness,
Esthercita remains the same
and the calico doesn’t matter.

Otra vez Esthercita by Federico Silva

Otra vez Esthercita is a Tango written by Federico Silva and composed by Armando Pontier.

Story behind the Tango Otra vez Esthercita

“Otra vez Esthercita” often translated as “Esthercita Once Again,” explores the life journey of an individual, Esthercita, who evolves over time yet retains her core essence. Silva poetically captures her transformation from a young, perhaps more carefree personality, who was dreamful and drawn to the shimmering life of cabarets and glamour, to someone who embraces a more routine and grounded existence. This transition is conveyed with language that suggests the trading of vibrant youthful dreams for the practicalities of life, yet there remains an underlying tone of resilience and continual hope.

Symbolism of Otra vez Esthercita

The use of materials such as ‘percal’ (a type of coarse cotton) and later ‘nylon sheets’ symbolizes changes in Esthercita’s socio-economic lifestyle and personal values. The reference to ‘percal’ represents simplicity and perhaps a more grounded existence, whereas ‘nylon’, a synthetic fabric, could reflect modernity but also a sense of artificiality. Subway rides to Santa Fe, a busy commercial street in Buenos Aires, symbolize her engagement with the bustling, everyday world, contrasting with the inaccessible glamour of cabarets. Her dream shifting in ‘another tone’ likely refers to changing ideals as one experiences the realities of life. Additionally, the depiction of her as ‘born out of tune’ poignantly underscores her imperfections and societal judgment, yet it is also a subtle nod to the enduring spirit that defines her personality.