Fidel Pintos

Real name: Pintos, Fidel Adolfo
Composer, lyricist and actor
(28 August 1905 - 11 May 1974)
Place of birth:
Buenos Aires Argentina
Abel Palermo

e was born in Buenos Aires, in the lowlands of the neighborhood of Belgrano, an area of studs and low houses. At age fourteen he was admitted as errand boy in the Banco Holandés (Dutch Bank). In 1933 he began to appear in theater plays and made his debut in the experimental group led by the actor Domingo Sapelli.

By the end of that decade he used to present orchestras and singers at different shows in which he made introductions to the tangos that were later played. This activity led him to get in touch with the Rubistein brothers. He became very close friends with them so that they regarded him as their complete trust.

He was employee with the Rubisteins at the Primera Academia Argentina de Interpretes-PAADI, on 420 Callao Street near the corner with Corrientes. It is interesting to mention some of the teachers who taught there: Osvaldo Pugliese, Mariano Mores, Domingo Sapelli, among others.

As composer, his outstanding tangos are: “Te vi partir”, with words by Oscar Rubens, which in 1937 was recorded by Hugo Del Carril with the Joaquín Mora orchestra, and “Vamos corazón”, co-written with Juan José Guichandut and lyrics by Carlos Bahr which was recorded by Osvaldo Fresedo with Roberto Ray.

As from his debut at the Teatro Maipo in 1945, his show business was uninterrupted. In 1947 he was starred in Novio, marido y amante, directed by Mario Lugones, along with Susana Campos and Enrique Serrano, which was premiered on January 22, 1948. Later, with Alberto Castillo and Virginia Luque, he appeared in Un tropezón cualquiera da en la vida, directed by Manuel Romero and premiered on January 20, 1949. He appeared in 34 movies.

On Radio El Mundo he was in the popular program El mundo al revés alongside the emcee Carlos Ginés (1948) and later on Radio Splendid, summoned by the author and writer Manuel Meaños, in a program in which he impersonated the character Monsieur Canesu, that was aired to wide acclaim (1950).

In the sixties he was an important figure in the Buenos Aires scene. But his final consecration was on television by playing a very special, thoroughly porteño character who talked in a confusing, incomprehensible, nonsensical way which is defined as «sanata».

He imposed his style alongside the greatest comic actors of his time in La peluquería de Don Mateo with Jorge Porcel and in the programs Operación, ja, ja and Polémica en el bar written by the brothers Hugo and Gerardo Sofovich.

Also as composer, are highlights his works co-written with the pianist Manuel Ceferino Flores: “Angustiosamente” (words by Hipólito Oneca), “Embriaguez”; “Después [b]” and “Una copa más” (lyrics by Carlos Bahr); co-written with Luis Rubistein: “Naúfrago”; co-written with Guillermo Cavazza: “Lamentos” (words by José Bruhn); co-written with Juan José Guichandut: “Vamos corazón” (lyrics by Bahr); and his numbers: “Nieblas [b]” and “Te vi partir” (lyrics by Oscar Rubens).

With these short lines we want to express our simple homage to an archetype of porteño artist that made us be happy with his talent and healthy humor.