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Tangopedia

Year

Tango in 1952

Our catalogue holds 362 recordings from 1952. The orchestras recorded most that year were Aníbal Troilo (27 recordings), Carlos Di Sarli (24 recordings), and Alfredo De Angelis (22 recordings).

63 facts · 49 sources · every fact links its source

Our catalogue holds 362 recordings from 1952. The orchestras recorded most that year were Aníbal Troilo (27 recordings), Carlos Di Sarli (24 recordings), and Alfredo De Angelis (22 recordings).[1][2][3]

That year

Eugenio Cárdenas: Dies in Buenos Aires.[4]

Carlos Rivarola: Born on 22 February in Villa Ballester.[5]

Nina Miranda: Records Maula with Juan Esteban Martínez's orchestra at Sondor; it becomes a hit.[6]

Carlos Almada: Last Donato recording, Mi serenata, with Alberto Podestá.[7]

Article r1 · batch articles-2026-10-28 · every sentence cites a published fact

Recorded in12

Aníbal Troilo — recorded in Tango in 1952 (27 recordings)1952[1]

Carlos Di Sarli — recorded in Tango in 1952 (24 recordings)1952[1]

Alfredo De Angelis — recorded in Tango in 1952 (22 recordings)1952[1]

Osvaldo Fresedo — recorded in Tango in 1952 (21 recordings)1952[1]

Orquesta Francini-Pontier — recorded in Tango in 1952 (20 recordings)1952[1]

Juan D'Arienzo — recorded in Tango in 1952 (19 recordings)1952[1]

Osvaldo Pugliese — recorded in Tango in 1952 (18 recordings)1952[1]

Héctor Varela — recorded in Tango in 1952 (15 recordings)1952[1]

Alfredo Attadia — recorded in Tango in 1952 (14 recordings)1952[1]

Florindo Sassone — recorded in Tango in 1952 (12 recordings)1952[1]

Alberto Mancione — recorded in Tango in 1952 (12 recordings)1952[1]

Francisco Canaro — recorded in Tango in 1952 (11 recordings)1952[1]

What happened51

Eugenio Cárdenas Dies in Buenos Aires.[2]

Carlos Rivarola Born on 22 February in Villa Ballester.[3]

Nina Miranda Records Maula with Juan Esteban Martínez's orchestra at Sondor; it becomes a hit.[4]

Carlos Almada Last Donato recording, Mi serenata, with Alberto Podestá.[5]

Alfredo Del Rio First record, Cuando me entrés a fallar, with Pedro Laurenz for Odeon.[6]

Héctor Pacheco Records Vida mía with Fresedo for Odeon.[7]

Eduardo Del Piano Records El arroyito for Pathé with his own orchestra.[8]

Ismael Spitalnik His orchestra records the vals Manos adoradas for RCA Victor with singer Aldo Calderón.[9]

Virginia Luque Records El patio de la morocha with Argentino Galván's orchestra.[10]

Jorge Caldara Alberto Morán records his Pasional with Pugliese for Odeon.[11]

Carlos Perez Begins dancing in the Buenos Aires milongas, learning from dancers 10–15 years older.[12]

Maria la Turca Born.[13]

Miguel Ángel Balbi Begins going to the milongas seven nights a week, a routine he keeps until 1962.[14]

Gerónimo Bongioni Bandoneonist Alfredo Cordisco joins his Cuarteto Los Ases.[15]

Enrique Lucero Sings La calesita on Mariano Mores's first record with his own orchestra (IFMA-Mercurio).[16]

Raúl Bravo Begins dancing professionally, by his own count in a 2009 interview.[17]

Argentino Ledesma Arrives in Buenos Aires, signs with Radio Belgrano and joins Héctor Varela's orchestra in place of Armando Laborde, beside Rodolfo Lesica.[18]

Osvaldo Requena y Leopoldo Federico Joins Eduardo Del Piano's orchestra.[19]

Alberto Di Paulo Forms his own orchestra, two years on Radio Libertad.[20]

Virulazo Wins the national tango contest run by the Águila chocolate company, with Aída.[21]

Roberto Goyeneche Joins Horacio Salgán's orchestra alongside Ángel Díaz; records for RCA Victor and then TK.[22]

Argentino Ledesma Debuts with Varela at the Chantecler cabaret; the orchestra also plays the Marabú, Maipú 365.[18]

Dante Amicarelli Plays in Ray Nolan y su orquesta with Cosentino and Tito Colom.[23]

Ernesto Franco First recordings with Roberto Caló's orchestra: Lorenzo and La cachila.[24]

Héctor Pacheco Hired by Osvaldo Fresedo after a test at Rendez Vous on Maipú.[25]

Rodolfo Lesica Records Noches de cabaret; briefly leaves for Rio de Janeiro.[26]

Armando Garrido Records four sides with Nito Farace that were never released.[27]

Leopoldo Federico Co-leads the Stampone-Federico orchestra, playing the Tibidabo cabaret and Radio Belgrano; records for the TK label.[28]

Argentino Ledesma First record with Varela, 'Novia provinciana', for the Pampa label.[18]

Armando Laborde Returns to D'Arienzo and records 'El vino triste'.[29]

Osvaldo Ruggiero Pugliese's orchestra records his Para dos.[30]

Alberto Marino Records for Odeon with his own orchestra under Hugo Baralis.[31]

Raúl Berón Dubs the tango singing of actor Jorge Salcedo in the film Mi noche triste.[32]

Atilio Stampone Co-founds the Stampone-Federico orchestra, which records for TK.[33]

Nina Miranda Joins Donato Racciatti for the sainete Tu cuna fue un conventillo at the Teatro 18 de Julio.[34]

Francisco Rotundo Hires Enrique Campos; his duet with Floreal Ruiz on El viejo vals sells strongly.[35]

Simón Bajour First violin of the Stampone-Federico orchestra at the Tibidabo and on Radio Belgrano.[36]

Rosita Quiroga Returns to the studio for four songs.[37]

Aldo Campoamor Solo debut on Radio El Mundo's Patio de tango.[38]

Ricardo Malerba Plays the luxury hotels and radio and TV of Porto Alegre, then tours Brazil at length.[39]

Ricardo Pedevilla Records Misa de once with Jorge Ortiz; Carlos Olmedo sings with him into 1953.[40]

Hugo del Carril Directs Las aguas bajan turbias.[41]

Mariano Mores Taquito militar is premiered at the Teatro Colón.[16]

Ciriaco Ortiz Records four sides with a sextet for Victor, 1952-1953.[42]

Juan Sanchez Gorio Gitana rusa, sung by Mendoza, becomes his biggest hit.[43]

Alfredo Attadia Records Cualquier cosa and other titles for Pathé with Enzo Valentino.[44]

Raúl Kaplun Dissolves the orchestra and retires from regular work.[45]

Oscar Serpa Di Sarli resumes recording on Music Hall; Serpa sings Cuatro vidas, Un momento and Sueño de juventud.[46]

Enrique Campos Leaves Rotundo in October and sings with Roberto Caló for about two years.[47]

Carlos Roldán Singer with Roberto Caló's orchestra into 1953.[48]

Jorge Ortiz Records Misa de once with Ricardo Pedevilla for Pampa-Odeon.[49]

Timeline

  1. 1952

    Recorded in Aníbal Troilo[1]

  2. 1952

    Recorded in Carlos Di Sarli[1]

  3. 1952

    Recorded in Alfredo De Angelis[1]

  4. 1952

    Recorded in Osvaldo Fresedo[1]

  5. 1952

    Recorded in Orquesta Francini-Pontier[1]

  6. 1952

    Recorded in Juan D'Arienzo[1]

  7. 1952

    Recorded in Osvaldo Pugliese[1]

  8. 1952

    Recorded in Héctor Varela[1]

  9. 1952

    Recorded in Alfredo Attadia[1]

  10. 1952

    Recorded in Florindo Sassone[1]

  11. 1952

    Recorded in Alberto Mancione[1]

  12. 1952

    Recorded in Francisco Canaro[1]

  13. 1952

    Carlos Perez: Begins dancing in the Buenos Aires milongas, learning from dancers 10–15 years older.[12]

  14. 1952

    Maria la Turca: Born.[13]

  15. 1952

    Miguel Ángel Balbi: Begins going to the milongas seven nights a week, a routine he keeps until 1962.[14]

  16. 1952

    Gerónimo Bongioni: Bandoneonist Alfredo Cordisco joins his Cuarteto Los Ases.[15]

  17. 1952

    Enrique Lucero: Sings La calesita on Mariano Mores's first record with his own orchestra (IFMA-Mercurio).[16]

  18. 1952

    Raúl Bravo: Begins dancing professionally, by his own count in a 2009 interview.[17]

  19. 1952

    Argentino Ledesma: Arrives in Buenos Aires, signs with Radio Belgrano and joins Héctor Varela's orchestra in place of Armando Laborde, beside Rodolfo Lesica.[18]

  20. 1952

    Osvaldo Requena y Leopoldo Federico: Joins Eduardo Del Piano's orchestra.[19]

  21. 1952

    Alberto Di Paulo: Forms his own orchestra, two years on Radio Libertad.[20]

  22. 1952

    Virulazo: Wins the national tango contest run by the Águila chocolate company, with Aída.[21]

  23. 1952

    Roberto Goyeneche: Joins Horacio Salgán's orchestra alongside Ángel Díaz; records for RCA Victor and then TK.[22]

  24. 1952

    Argentino Ledesma: Debuts with Varela at the Chantecler cabaret; the orchestra also plays the Marabú, Maipú 365.[18]

  25. 1952

    Dante Amicarelli: Plays in Ray Nolan y su orquesta with Cosentino and Tito Colom.[23]

  26. 1952

    Ernesto Franco: First recordings with Roberto Caló's orchestra: Lorenzo and La cachila.[24]

  27. 1952

    Héctor Pacheco: Hired by Osvaldo Fresedo after a test at Rendez Vous on Maipú.[25]

  28. 1952

    Rodolfo Lesica: Records Noches de cabaret; briefly leaves for Rio de Janeiro.[26]

  29. 1952

    Armando Garrido: Records four sides with Nito Farace that were never released.[27]

  30. 1952

    Leopoldo Federico: Co-leads the Stampone-Federico orchestra, playing the Tibidabo cabaret and Radio Belgrano; records for the TK label.[28]

  31. 1952

    Argentino Ledesma: First record with Varela, 'Novia provinciana', for the Pampa label.[18]

  32. 1952

    Armando Laborde: Returns to D'Arienzo and records 'El vino triste'.[29]

  33. 1952

    Osvaldo Ruggiero: Pugliese's orchestra records his Para dos.[30]

  34. 1952

    Alberto Marino: Records for Odeon with his own orchestra under Hugo Baralis.[31]

  35. 1952

    Raúl Berón: Dubs the tango singing of actor Jorge Salcedo in the film Mi noche triste.[32]

  36. 1952

    Atilio Stampone: Co-founds the Stampone-Federico orchestra, which records for TK.[33]

  37. 1952

    Nina Miranda: Joins Donato Racciatti for the sainete Tu cuna fue un conventillo at the Teatro 18 de Julio.[34]

  38. 1952

    Francisco Rotundo: Hires Enrique Campos; his duet with Floreal Ruiz on El viejo vals sells strongly.[35]

  39. 1952

    Simón Bajour: First violin of the Stampone-Federico orchestra at the Tibidabo and on Radio Belgrano.[36]

  40. 1952

    Rosita Quiroga: Returns to the studio for four songs.[37]

  41. 1952

    Aldo Campoamor: Solo debut on Radio El Mundo's Patio de tango.[38]

  42. 1952

    Ricardo Malerba: Plays the luxury hotels and radio and TV of Porto Alegre, then tours Brazil at length.[39]

  43. 1952

    Ricardo Pedevilla: Records Misa de once with Jorge Ortiz; Carlos Olmedo sings with him into 1953.[40]

  44. 1952

    Hugo del Carril: Directs Las aguas bajan turbias.[41]

  45. 1952

    Mariano Mores: Taquito militar is premiered at the Teatro Colón.[16]

  46. 1952

    Ciriaco Ortiz: Records four sides with a sextet for Victor, 1952-1953.[42]

  47. 1952

    Juan Sanchez Gorio: Gitana rusa, sung by Mendoza, becomes his biggest hit.[43]

  48. 1952

    Alfredo Attadia: Records Cualquier cosa and other titles for Pathé with Enzo Valentino.[44]

  49. 1952

    Raúl Kaplun: Dissolves the orchestra and retires from regular work.[45]

  50. 1952

    Oscar Serpa: Di Sarli resumes recording on Music Hall; Serpa sings Cuatro vidas, Un momento and Sueño de juventud.[46]

  51. 1952

    Enrique Campos: Leaves Rotundo in October and sings with Roberto Caló for about two years.[47]

  52. 1952

    Carlos Roldán: Singer with Roberto Caló's orchestra into 1953.[48]

  53. 1952

    Jorge Ortiz: Records Misa de once with Ricardo Pedevilla for Pampa-Odeon.[49]

  54. 1952-01-01

    Eugenio Cárdenas: Dies in Buenos Aires.[2]

  55. 1952-02-22

    Carlos Rivarola: Born on 22 February in Villa Ballester.[3]

  56. 1952-05-15

    Nina Miranda: Records Maula with Juan Esteban Martínez's orchestra at Sondor; it becomes a hit.[4]

  57. 1952-06

    Carlos Almada: Last Donato recording, Mi serenata, with Alberto Podestá.[5]

  58. 1952-06-25

    Alfredo Del Rio: First record, Cuando me entrés a fallar, with Pedro Laurenz for Odeon.[6]

  59. 1952-09-21

    Héctor Pacheco: Records Vida mía with Fresedo for Odeon.[7]

  60. 1952-10-20

    Eduardo Del Piano: Records El arroyito for Pathé with his own orchestra.[8]

  61. 1952-10-24

    Ismael Spitalnik: His orchestra records the vals Manos adoradas for RCA Victor with singer Aldo Calderón.[9]

  62. 1952-11-20

    Virginia Luque: Records El patio de la morocha with Argentino Galván's orchestra.[10]

  63. 1952-11-24

    Jorge Caldara: Alberto Morán records his Pasional with Pugliese for Odeon.[11]

Related

Sources 49
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