lessed with a stupendous bass-baritone range, Jorge Sobral is one of the best names of the generation of singers immediately after the forties. He has a good intonation, good taste and displays a vocal technique that evidences his bel canto studies with maestro Fermín Favero. He is, no doubt, an excellent artist.

At a young age and under the direction of his teacher he performed with the Orquesta Infantil Favero, later with Jorge Lavaller’s, and subsequently with the group Los Ases and at the Forti-Parodi outfit, which also included the singers Luis Tolosa and Juan Carlos Cobos.

His image is associated with Argentine television. In this milieu he added an interesting work as actor besides his gifts as singer. An example of that is his appearance at the successful TV show Yo soy porteño which was aired for several consecutive years on the screen of Channel 13.

He started in 1952 with the orchestra led by Mario Demarco, and recorded the tango “Mañana zarpa un barco” for the Pathe label, on the other side of the record was the instrumental “Bienvenida”. Later he cut “Pan”, by Eduardo Pereyra and Celedonio Flores, “Astilla” by Mario Demarco and Jacinto Alí, and the tango by Jaime Vila and Antonio Cantó, “Cuando yo me vaya”, among others.

In 1953 he switched to the orchestra led by Lorenzo Barbero, along with Roberto Florio on vocals. The following year he performed with the Mariano Mores Orchestra.

In 1955 he joined the string orchestra led by Astor Piazzolla. He had a four-year tenure and committed to record the following numbers: “Azabache”, “Siempre París”, “Fuimos”, “Yo soy el negro” and “La tarde del adiós”.

In 1959 he joined the theater company led by the actor Francisco Petrone and appeared at the play La leyenda de Juan Moreira.

In 1961 he went on tour of Chile and Peru. Later he released several numbers for television, accompanied by the orchestras led by Osvaldo Tarantino and Armando Calderaro and as well folk repertory (criollo), accompanied by a guitar group named Los Platenses. Besides the above mentioned program Yo soy porteño, he was starred along with the actresses Marilina Ross and Selva Alemán Buenos Aires 2040 and the principal music programs on Channel 13.

In 1973 he signed to appear in Porto Alegre, Brazil, at the Festival de Tango en el Mar, alongside Roberto Goyeneche, Alba Solis, Horacio Deval, Baffa-Berlingieri, Osvaldo Piro, Gloria y Eduardo, among others. Due to the remarkable public acclaim he returned in 1975 for a week with Juan Carlos Copes, María Graña and the Sexteto Mayor. In 1976 he toured that country with the show Una noche en Buenos Aires, under his own direction, featuring the Sexteto Mayor, after the Sexteto Tango and the Osvaldo Piro Orchestra, along with Roberto Achával, Las voces Blancas and Víctor and Mónica Ayos.

As we said before, his career as actor is parallel to his work as vocalist and we emphasize his appearance in a dozen of films in our country and abroad, alongside outstanding movie stars. Among others we stand out: El dinero de Dios (1959), Don Frutos Gómez (1960), Buenas noches, Buenos Aires (1963), María y la otra, shot in Spain around 1967.

During his career he won several awards: winner of the Festival de la Canción in 1965, finalist of the Festival de Benidorm in 1967 (Valencia, Spain), Disco de oro (Gold disc) in 1968 (Caracas, Venezuela). He was awarded the prize Florencio Sánchez to the best director of music shows, season 1973-1974 in Mar del Plata. As singer and vocalist he won the Quinquela Martín de Oro in 1991 and the following year the Premio Goya in Madrid.

In November 1969 he turned out the winner of the Primer Festival Buenos Aires de la Canción y la Danza, with the tango “Hasta el último tren”, composed by Julio Ahumada with lyrics by Julio Camilloni; the runner-up was the famous “Balada para un loco”, by Astor Piazzolla and Horacio Ferrer.

In 1993 he released a compact disc playing the role of Juan Perón, at the opera Evita written by maestro Andrés Pedro Risso, and he successfully performed at the operas Amalia, Lola Mora and Alfonsina by the same author. The soprano Marcela Ríos was the leading female artist in both three.

In 1995 for a five-month tenure he appeared at the On the Square Theater with the show Forever Tango in San Francisco, California, along with the dancers Mayoral and Elsa María and the female singer Marcela Ríos.

On his comeback and up to 2005, he performed at different venues in Buenos Aires, such as: El Viejo Almacén, after its re-opening, the Café Mahler, the Café Orión of Mar del Plata, and at the new Caño 14 in the neighborhood of Recoleta of Buenos Aires.

On May 25, 2000 he appeared at the Festival de Tango of Alcantarillas, in Murcia, and, taking advantage of his stay in Spain, he recorded two CD's in Madrid with maestro Dioni Velázquez.

In his long career he recorded over three hundred pieces, among them we highlight the recordings made with the orchestra led by the pianist Juan José Paz. Among others he cut the awarded “Hasta el último tren”, his piece “Che Caracas” and a curious version of the José Larralde's milonga “El porqué”.