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Quién te iguala

Quién te iguala is a Tango written by Alejandro Michetti and recorded by Juan D’Arienzo in 1941. Juan D’Arienzo has recorded Quién te iguala as an instrumental Tango.
“Quién te iguala” translates to “Who Equals You.” This evocative phrase expresses the timeless allure and unmatched beauty of a cherished presence, perhaps a lover or a memory etched in time. It suggests an admiration so profound that it transcends comparison, capturing the essence of elegance and passion that stands alone in its singular glow.

Tango

Style

Juan D'Arienzo

Orchestra

Instrumental

Singer

Francisco Bohigas

Author

Alejandro Michetti

Composer

1941/5/21

Date

Instrumental
Instrumental
Juan D'Arienzo
Juan D’Arienzo

Discover Other Orchestras

Rodolfo Biagi – Adiós pampa mía – 1946/1/31
Rodolfo Biagi – Pueblito de provincia – 1943/1/15
Rodolfo Biagi – Son cosas del bandoneón – 1939/9/22
Rodolfo Biagi – Adoración – 1951/10/4
Rodolfo Biagi – Ayudame – 1960/7/28
Cuarteto Aníbal TROILO – La cumparsita – 1968/9/11
Cuarteto Aníbal TROILO – Sobre el pucho (Un callejón en Pompeya) – 1968/9/11
Cuarteto Aníbal TROILO – Pablo – 1968/8/5
Cuarteto Aníbal TROILO – Milonguero triste – 1969/7/30
Cuarteto Aníbal TROILO – Los mareados – 1968/9/11
Adolfo Carabelli – El trece – 1932/9/27
Adolfo Carabelli – Cuatro palabras (2) – 1933/7/25
Adolfo Carabelli – Felicia – 1932/6/24
Adolfo Carabelli – Juntito al jaguel – 1933/7/25
Adolfo Carabelli – Romance – 1933/1/1
Nuevo Quinteto Real (Horacio Salgán) – Shusheta (El aristócrata) – 1987/1/1
Nuevo Quinteto Real (Horacio Salgán) – La cumparsita – 1987/1/1
Nuevo Quinteto Real (Horacio Salgán) – Desvelo (De flor en flor) – 1987/1/1
Nuevo Quinteto Real (Horacio Salgán) – 9 de Julio – 1987/1/1
Nuevo Quinteto Real (Horacio Salgán) – La pulpera de Santa Lucía – 1987/1/1

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.

Quién te iguala recorded by other Orchestras

Quién te iguala recorded by other Orchestras

1941/5/21 – Dime mi amor – Juan D-Arienzo
1941/5/21 – Frenesi – Orquesta Tipica Victor
1941/5/21 – Nuestra intriga de amor – Orquesta Tipica Victor
1941/5/20 – Bien frappe – Carlos di Sarli
1941/5/20 – Marianito – Carlos di Sarli
Quien te iguala – 1953/4/21 – Carlos di Sarli – Instrumental
Quien te iguala – 1941/5/21 – Juan D-Arienzo – Instrumental

Letra del Tango Quién te iguala

Salón “La Paternal”
De milonga corrida está el bailongo,
Y del fueye al rezongo
El malevaje se luce allí.
La “parda” Blanca Flor
Prendida del ojal del “chino” Ayerza,
La bailan solos, mientras la merza
Formando rueda, les canta así:

¡Metele!, ¡Chino!, ¡Dale!…
Que para el tango
No hay quién te iguale.
Seguile, “parda”, el giro,
Que hasta Retiro
No para el tren…
Fajale una “sentada”,
A tu “pardita”
Que está chalada.
Y en su boquita ´e rosa,
Una ventosa
Clavale bien…

El “ñato” Pantaleón
Que estaba, de la “parda”, enamorado,
Jaileife y afeitado
Cayó al bailongo con loco fin.
Peló como una luz
De rápido, el puñal,
Y a la sordina
Hubo desmayos,
Y por la mina,
Se armó una bronca
De San Quintín.

El encuentro fatal
Los cuchillos trenzó,
Mas cayó el oficial
Y a los dos encanó.
La percanta desleal
Al final se arregló,
Con el tano Pascual
Y al Brasil se piantó.

English lyrics of the Tango "Quién te iguala"

Ballroom “La Paternal”
The dance is fast-paced milonga,
And from the bandoneon’s murmur
The tough crowd shines there.
The mulatta Blanca Flor
Hooked on the lapel of “Chino” Ayerza,
They dance alone, while the folks
Forming a circle, sing to them like this:

Keep it up, “Chino,” go on!…
In tango,
There’s no one like you.
Follow it, “mulatta,” the turn,
For up to Retiro
The train won’t stop…
Give her a “dip,”
To your “little mulatta”
Who’s crazy.
And on her rosy lips,
Plant a strong kiss…

The “snub” Pantaleón
Who was in love with the “mulatta,”
Well-dressed and shaved
Dropped into the dance with a crazy aim.
He pulled out like a flash
Quickly, the knife,
And in quiet,
There were fainting,
And over the girl,
A Saint Quentin brawl broke out.

The fatal encounter
Entwined the knives,
But the officer fell
And arrested both.
The unfaithful girl
Finally settled,
With the Italian Pascual
And fled to Brazil.

Quién te iguala by

Quién te iguala is a Tango written by and composed by Alejandro Michetti.

Story behind the Tango Quién te iguala

At its heart, “Quién te iguala” is a vivid portrayal of the vibrant and often tumultuous life of Buenos Aires in the early 20th century, captured through a scene set in a dance hall named “Salón La Paternal.” The narrative unfolds around central figures like “el chino Ayerza” and “la parda Blanca Flor,” painting a picture of passion, rivalry, and the dance that unites them. This tango weaves together the energy of the dance with the drama of human relationships, portraying the raw emotional intensity inherent in the tango culture.

Symbolism of Quién te iguala

The lyrics of “Quién te iguala” are imbued with rich symbolism and language that captures the essence of tango. The “milonga corrida” represents the rhythm and pace of life, while key phrases like “¡Metele!, ¡Chino!, ¡Dale!” convey the encouragement and fervor of the dancers. The use of “el tren” as a metaphor for unstoppable energy and progress suggests the urgency and ceaseless movement characteristic of tango music and dance. Furthermore, the “puñal,” or knife, and the subsequent “bronca,” or fight, highlight themes of jealousy and rivalry, common in tango narratives and reflecting the darker undertones of passion.

Quién te iguala in historic Context

The tango originates from Buenos Aires, Argentina, and was composed in 1941, a time when the city was a melting pot of cultural influences and burgeoning modernity. Tango itself was born in the working-class neighborhoods of Buenos Aires, making it a vital aspect of Argentine identity and culture. During this era, Buenos Aires was experiencing rapid urbanization, and the tango became a means of expressing the complexities of love, desire, and social struggle. In “Quién te iguala,” the dance hall setting serves as a microcosm of the city, where individuals from diverse backgrounds come together, and their personal dramas reflect the broader historical and social changes of the time.

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