e was born in La Paternal, his parents were Cataldo Morano and Rosa Trípodi. As his uncles were musicians and members of the Lecuona-Murano-Poli trio, as a kid he used to sing with them in different clubs of Villa Urquiza, such as, for example: El Tábano. They were the guitarists Antonio Murano and Domingo Trípodi (the latter known as Domingo Poli) who accompanied singers of the level of Jorge Casal, Alberto Podestá and Roberto Goyeneche.



His first professional appearance was in January 1959, at a café-bar located in a basement on Nahuel Huapi Street, in Villa Urquiza.

In the 50s he studied singing with Eduardo Bonessi, later he continued with the tenor singer Ricardo Domínguez and thereafter with the sopranos Esther Plotkin and María Román.

In the carnival seasons of 1959, in February, he appeared with the orchestra led by Alfredo del Río (do not mistake the latter for the singer), a pianist greatly influenced by the Carlos Di Sarli’s style. This is the year when his daughter Patricia was born. Later, also in 1959, he sang in the sextet fronted by the pianist Pedreira.

He became acquainted with the bandoneon player Julio López, member of the Ángel Domínguez orchestra, who introduced him so that he would join the orchestra headed by Osvaldo Touri and, in December 1959, he made his debut at the Centro Asturiano on Solís Street by singing the tango “Calla”. Through the ranks of this orchestra passed figures like José Colángelo, Omar Murtagh, Fernando Romano. With Touri he made his first professional recording that included the tangos “Eras” and “No hables así” and in that aggregation he stayed until 1964.

When Osvaldo Piro put together his orchestra he turned to several players of the Touri’s group like: Oscar Malvestiti, Raúl Salvetti (bandoneons).

On Malvestiti’s recommendation, Dino Saluzzi made him join his quintet, in 1965, that also included Osvaldo Manzi (piano), Rubén Ruiz —aka Chocho— (electric guitar), Mauricio Marcelli (violin) and Kicho Díaz (double bass). Their debut was at the Tucumán 676 local and they recorded an unissued simple disc with “Flores negras” and “María”. He had sporadic appearances with the quintet until 1967.

Thereafter, the singer in the Osvaldo Manzi trio quit and Morano joined this outfit in 1965 with which he made his debut in the Tucumán 676. Besides the piano played by Manzi were Chocho Ruiz (guitar) and Kicho Díaz (double bass). In the recording of the LP: Tangos en visto y oído, the bass was played by Benigno Quintela (1966). He had a ten-year tenure with this trio. Manzi was summoned by Astor Piazzolla to play in his quintet and later in the Conjunto Nueve.

By 1966, Ben Molar requested him to sing in his LP: 14 con el tango, in which he recorded “Elegía” —music by Osvaldo Manzi and lyrics by Alberto Girri—. He appeared on TV Channel 7 at the program Siete notas para el tango which later was named Buenas noches, Buenos Aires. This TV show featured figures like Horacio Salgán, Atilio Stampone, Raúl Lavié, Héctor de Rosas, Osvaldo Manzi, among others.

By that time he sang two numbers with lyrics and music of the violinist Nito Farace: “Tiempo de perdón” and “Plaza en invierno” in an LP that Farace recorded with a 25-piece orchestra.

From 1965 until not long since, he took part and collaborated in the shows organized by Nélida Rouchetto.

Between 1968 and 1972 he appeared on TV Channel 11 in Domingos de mi ciudad with the orchestra conducted by Osvaldo Manzi. As well with the quartet led by Manzi (Juan José Mosalini or Néstor Marconi on bandoneon and Luis Rizzo or Cacho Tirao on guitar) they appeared on LS1 Radio Municipal.

With Atilio Stampone he appeared on television and in dancehalls and, in the 70s, to pay homage to Osvaldo Pugliese at the Luna Park.

Manzi summoned him again but that did not come true because of the unexpected death of the pianist.

From 1976 to 1979 he had stints with the guitarist Luiz Rizzo.

The bass player Enrique Marcheto introduced him to Pascual Mamone who wrote the charts for a double disc: “El pescante”, “Callejón”, “Mensaje” and “Volvió una noche”. They were recorded between 1979 and 1980 by a septet that included: Antonio Agri, Leo Lipesker (violins), Pascual Mamone (bandoneon, leader), Armando Cupo (piano), Mario Fioca (viola), Juan Llacuna (cello) and Enrique Marcheto (double bass).

As he was unable to make a living only with his show business activity, since 1961 he has been running commercial locals.

In 1999 he was invited to join the Gente de Tango group as singer and until now he is appearing as such. With them he cut two compact discs. The present members of the group are: Guillermo Durante (piano and leader), Adolfo Halsband, Ignacio Pagano, César Palacios, Oscar Sarmientos (violins), Aníbal Diluch (double bass), Osvaldo Fumagalli, Marcelo Hunkeler, Hiroshi Kurihara and Alberto De María (bandoneons). The latter is the only one that remains of the original lineup.



Héctor Morano is a singer with a tenor-baritone range with correct intonation and an exquisite good taste that never yielded to tempting offerings and was generally backed by musical groups with high professional level. Regretfully, most times his interpretations were only broadcast in specialized programs with little audience.