Tenemos que abrirnos

Tenemos que abrirnos is a Tango written by Alberto Acuña and recorded by Francini-Pontier in 1952. The Tango Tenemos que abrirnos is written by Alberto Acuña, Francini-Pontier has recorded Tenemos que abrirnos with the singer Julio Sosa.

“Tenemos que abrirnos,” which translates to “We Must Open Ourselves,” echoes through the melody, inviting hearts to shed their defenses. This piece, like a tango’s embrace, suggests vulnerability as a pathway to connection, urging us to open to love, dreams, and new possibilities. Its rhythm speaks of courage, asking us to dance through life’s uncertainties with open arms.

Tango

Style

Francini-Pontier

Orchestra

Julio Sosa

Singer

Agustín Irusta

Author

Alberto Acuña

Composer

1952/10/24

Date

Julio Sosa

Francini-Pontier

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Lyrics Translation of the Tango Tenemos que abrirnos

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

Letra del Tango Tenemos que abrirnos

Hace ya algún tiempo te vengo observando

un raro misterio en tu modo de ser.

Si algo me retraso te encuentro con trompa,

si vengo pasado ni me querés ver.

Si me siento alegre y cacho la viola

me parás el carro, yo no se porqué.

Te inventás diez nombres de minas cualquiera;

si falta que digas que tengo un harén.

Tenemos que abrirnos, no hay otro remedio,

es un caso serio tu modo de amar.

Tenemos que abrirnos, amistosamente,

no es vida decente broncar y broncar.

Tenemos que abrirnos, hemos terminado

las que has aguantado te las pagaré

con buenos recuerdos, diré que sos buena,

que es grande mi pena, pero que le vachaché.

A veces, dormida, soñés en voz alta,

me decías de todo, mordés el colchón.

Yo te doy soguita, hasta que cabrero

te despierto suave con el cinturón.

Si te pido ropa te haces la mañera

haciéndote ideas muy malas, quizá.

¡Upa! ¡Que carácter! ya no hay quien te aguante,

si tenés más vueltas que línea ‘e tranway.

English lyrics of the Tango "Tenemos que abrirnos"

I’ve been watching you for some time now,
a strange mystery in your way of being.
If I’m a bit late, I find you fuming,
if I’m too early, you don’t even want to see me.

If I feel happy and pick up the guitar,
you stop me in my tracks, I don’t know why.
You come up with ten names of random women;
you might as well claim I have a harem.

We need to part ways, there’s no other solution,
your way of loving is seriously flawed.
We need to part ways, amiably,
this constant bickering is no decent life.

We need to part ways, we are done,
I’ll repay you for what you’ve endured
with good memories, I’ll say you’re kind,
that my sorrow is great, but that’s how it goes.

Sometimes, in your sleep, you talk out loud,
you berate everything, you bite the mattress.
I give you enough rope, until, annoyed,
I gently wake you with the belt.

If I ask for clothes, you play coy
getting very bad ideas, perhaps.
Wow! What a temper! Nobody can stand it,
you’re more twisted than a tram line.

Tenemos que abrirnos by Agustín Irusta

Tenemos que abrirnos is a Tango written by Agustín Irusta and composed by Alberto Acuña.

Story behind the Tango Tenemos que abrirnos

“Tenemos que abrirnos” translates to “We need to separate” in English. The core theme of the song involves the emotional turmoil and troubled communication in a relationship. The lyrics vividly describe one partner observing strange changes in the other’s behavior, which leads to frequent conflicts. This individual notes how different moods affect their interactions, from mistrust when delayed to disinterest when they arrive ‘late’. Eventually, the narrator concludes that separation is the necessary remedy to their ongoing strife.

Symbolism of Tenemos que abrirnos

The vivid use of everyday scenarios as symbols effectively paints a picture of a deteriorating relationship throughout the song. For example, phrases like “te encuentro con trompa” (finding you angry) and “me parás el carro” (stopping me abruptly) symbolize the frustrations and interruptions in their communication. Moreover, the use of “la viola” (guitar) indicates moments of personal joy being unfairly curtailed, enhancing the sense of constraint felt by the narrator. The complex imagery of the partner dreaming angrily “mordés el colchón” (biting the mattress) illustrates deep-seated emotional distress expressed subconsciously.