On a recent hot summer night an almost surreal scene presents itself in the upstate New York hamlet of Annandale-on-Hudson. Nestled among the tall trees and wide meadows of Bard College — a small exclusive private liberal arts and science school — appears a huge construction called the Spiegeltent (translated as “Mirror Tent”). This large traveling tent, constructed of wood and canvas and decorated with mirrors and stained glass, arrives every summer at this otherwise quiet and isolated campus, and becomes the stylish setting for exotic cabaret shows, live Jazz concerts, and dance events.
From early July through mid-August the Spiegeltent — a more familiar sight throughout Europe as well as in cities such as Las Vegas and San Francisco where it was used by Teatro ZinZanni — draws an astonishing number of people, not only from nearby smaller towns and surrounding rural areas, but also from as far away as Massachusetts and New York City. As it does tonight.
I’ve been dancing Argentine Tango for about six years, and all this time the music and the orchestras have remained somewhat of a mystery to me. I do understand what it takes to be a good Tango dancer and what to look for when I watch someone perform. I’m far from perfect myself, but I have learned how to walk, how to follow, how to embrace my partner, and how to look reasonably good on the dance floor. I like to express myself to the music and I do have my favorite composers, Carlos di Sarli and Osvaldo Pugliese among them, but my knowledge of Tango music hardly extends past the standard pieces that are played by DJs at most milongas. I’m embarrassed to say that after all this time my knowledge of Tango music is still very basic. There are pieces that make me want to get up and dance, and there are others that don’t speak to me at all, and that I don’t mind sitting out. At most milongas where the usual standard repertoire of Tango music is played I have to admit that I’m quite happy and content to listen and dance to the same “canned” pieces over and over again.
However, I can’t help but be amazed at how the vibe changes when a live orchestra plays. This is how it should be, I then think to myself. This is how it was in the early days of Tango when there was no recorded music, and instead the orchestras were at the center of things and were the real stars of Tango. If you’ve ever watched the YouTube video of Juan D’Arienzo conducting his orchestra (https://www.youtube.com/watch?v=3Z5qEKxfmm8) you’ll understand what I mean.