Francisco Amor

Francisco Amor, born Francisco Iglesias Amor on 7 January 1906 in Bahía Blanca, Buenos Aires province, developed a singing style distinct from the typical tango estribillista of his generation. His voice carried a clear criollo cadence and interpretive warmth that was especially effective in waltzes. He made his professional debut on 1 January 1936 with Florindo Sassone's orchestra at the Café El Nacional on Corrientes Street and on Radio Belgrano.^[1][2]

The following year he worked as both actor and singer in César Ratti's company at the Teatro Apolo. He also appeared in the film Viento norte, directed by Mario Soffici, singing 'Vidalita' and 'Boyera' (Alberto Vaccarezza / Andrés Domenech) with musical accompaniment by Francisco Canaro. In 1938 he took part in the film Pampa y cielo alongside Oscar Alonso, Domingo Conte and the Rivero siblings.^[1][2][3]

Canaro, innovating by employing two full vocalists rather than an estribillista, engaged Amor. His first recording with the orchestra was 'Salud, salud' on 15 June 1938, while Roberto Maida was still the established singer. By the end of that year Maida had left, and Canaro recalled Ernesto Famá. On 27 February 1939 the new pairing recorded 'Por vos yo me rompo todo' (Famá) and 'El brocal' (both by Canaro). Amor and Famá quickly achieved strong commercial and live success. Amor's own composition 'Mulita' became a hit; more importantly, he premiered two enduring tangos by the young pianist-composer Mariano Mores: 'Cuartito azul' (lyrics by Mario Battistella) on 14 September 1939 and 'En esta tarde gris' (lyrics by José María Contursi) on 9 August 1941.^[1][2][4]

Contractual disagreements led Amor, Famá and the bandoneonist Federico Scorticati to leave Canaro after the farewell session of 22 October 1941, on which Famá recorded 'Mañana juega' (Vaccarezza) and Amor recorded 'El cuarteador' (Enrique Cadícamo). Scorticati then directed the group that accompanied the new Famá–Amor duo. They debuted late in 1941 on Radio Splendid and from January to August 1942 toured Uruguay, performing on radio stations and major stages. The duo dissolved amicably upon their return; Amor continued as a soloist and remained a prominent figure on Radio Belgrano for several years.^[1][2]

In 1947 he appeared in Antonio Solana's documentary Buenos Aires canta alongside Hugo del Carril, Azucena Maizani and Niní Marshall. The following year he undertook an extensive tour of Chile and then settled in Montevideo, gradually withdrawing from regular musical activity while developing a parallel career as a painter and draughtsman, exhibiting in several American countries. In 1956 Canaro invited him, together with Famá, Carlos Roldán and Eduardo Adrián, to appear on the popular Radio El Mundo program Glostora Tango Club. Amor's final recordings were made in Montevideo in 1957 for the German-origin label Antar-Telefunken, in sessions that also involved Astor Piazzolla, Edmundo Rivero, Horacio Salgán, Eduardo Adrián and Enrique Lucero.^[1][2][3]

As a composer Amor is best known for the criollo songs 'Mulita', 'Malambo' and 'Canción de junio' (a homage to José Gervasio Artigas) and for the tangos 'El estrellero', 'A mí dejame en mi barrio' and 'Frente a una copa'. Sources disagree on the precise date of his death at the Hospital Pasteur in Montevideo: Todo Tango records 5 June 1976, while Spanish Wikipedia, MusicBrainz and other references give 6 June 1972. He was 66 or 70 according to the respective accounts.^[1][2][3]

Amor's tenure with Canaro coincided with a period of commercial expansion for the orchestra and helped establish Mores's early hits in the public repertoire. His criollo-inflected delivery offered a contrast to more urban-porteño styles and remains identifiable in the surviving waltz and tango recordings of 1938–1941. The later Montevideo years illustrate one path taken by Golden Age singers who moved into secondary artistic activities while remaining connected to the tango milieu.^[1][2][4]

Early career and Canaro years

After debuting with Sassone in 1936 and working in theater and film in 1937–38, Amor joined Canaro and recorded 'Salud, salud' on 15 June 1938. With Famá he premiered 'Cuartito azul' (14 September 1939) and 'En esta tarde gris' (9 August 1941), both by Mariano Mores, and left the orchestra after the 22 October 1941 session.^[1][2]

Duo with Famá and solo work

The Famá–Amor duo worked on Radio Splendid and toured Uruguay in 1942 before dissolving. Amor continued as a soloist on Radio Belgrano, appeared in the 1947 documentary Buenos Aires canta, and toured Chile in 1948 before settling in Montevideo.^[1][2][3]

Later life, composition and death-date discrepancy

In Uruguay Amor developed painting and drawing while making occasional appearances, including the 1956 Glostora Tango Club and 1957 Antar-Telefunken sessions. Sources disagree on whether he died on 5 June 1976 (Todo Tango) or 6 June 1972 (Wikipedia and MusicBrainz).^[1][2][3]