Singer Paula Roth and her orchestra TangoMina will perform their genre-crossing show Fuga y fuego on Friday, Sept. 25, at 8:00 p.m. at La Fábrica, according to an interview published by Teleshow. The venue, located on Fitz Roy street, served as a recording studio and rehearsal space for Argentine rock icon Charly García for years. The performance highlights a deliberate bridge between traditional tango and national rock, drawing on the historical mutual respect between Astor Piazzolla, Charly García, and Luis Alberto Spinetta.
The Historical Roots of Tango and National Rock
According to historical accounts recalled by Roth to Teleshow, Argentine music pillars Astor Piazzolla, Charly García, and Luis Alberto Spinetta maintained a foundation of mutual respect rather than rivalry. Piazzolla previously expressed public approval of García and Spinetta, noting that their work constituted valid Argentine music. García later corroborated that he and Piazzolla discussed and validated each other’s artistic output, while Spinetta openly expressed deep admiration for Piazzolla’s compositional genius. Roth’s Fuga y fuego project directly channels this historical creative alignment.
Inside La Fábrica and the TangoMina Repertoire
The choice of venue holds distinct significance for the ensemble. La Fábrica functioned as García’s primary rehearsal headquarters and continues to host live music events, carrying the creative energy of those foundational recording sessions, as reported by Teleshow. TangoMina utilizes a traditional tango instrumentation setup—featuring bandoneón, guitar, piano, drums, and bass—while refusing to limit its setlist to a single genre.
- Martín Cecconi on bandoneón
- Horacio Moreno on drums (noted for previous collaborations with David Lebón)
- Javier Torrecillas on guitar (who also plays in the Gustavo Cerati tribute band Sobredosis de Soda)
- Omar Serna on piano and musical direction
The performance blends compositions by Astor Piazzolla—such as “Balada para un loco,” “Chiquilín de Bachín,” and selections from María de Buenos Aires—with Argentine rock staples including Charly García’s “Asesiname” and “Alicia en el país,” works by Spinetta, Fito Páez’s “Las cosas tienen movimiento,” Jorge Fandermole’s “El témpano,” and Patricio Rey y sus Redonditos de Ricota tracks like “Ji, ji, ji” and “Todo un palo,” according to Teleshow.
Paula Roth on Her Musical Lineage and Collaborations
Roth brings a lifelong proximity to Argentina’s cultural sphere to the stage. As the daughter of film and musical comedy producer Mirta Di Leo—who worked on productions like Amor sin barreras and maintained friendships with artist David Lebón—Roth was exposed to rehearsals from an early age, according to Teleshow. Her uncle, Ricardo Di Leo, introduced her to Luis Alberto Spinetta’s live performances during her childhood, while Pino Solanas’s film Sur, scored by Piazzolla with vocals by Roberto “Polaco” Goyeneche, sparked her lifelong dedication to tango.
Over her career, Roth has recorded electronic tango in Europe, completed a baladas contract with Televisa in Mexico, performed backing vocals alongside Pescado Rabioso drummer Black Amaya, and appeared as a guest artist with Pappo across multiple theater productions. More recently, she recorded a collaboration with folk artist Peteco Carabajal, an experience she described to Teleshow as an enormous professional milestone.
Explaining the conceptual roots of her band’s name to Teleshow, Roth noted that “TangoMina” carries a threefold meaning: the tango genre itself, gomina as a symbol of classic Buenos Aires aesthetics, and mina representing her role as the group’s sole female voice.
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