Umberto El Prince

My first experience as musicalizador was in 2015, after dancing tango argentino (and now too) for about 8 years in milongas. Searching for musical improvisation while dancing led me to study the musical aspect of the tango and his huge repertoire. And first experiences as musicalizador arise from this research that gradually becomes "passion and competence."organizer and musicalizador at La Viruta Milonga en Roma. Among Rome's milongas I played at Tanguera, Barrio, 931, Milonga dei 99, Tango Loft, El Arrabal, Tango Bar, Caffe Letterario, Tangofficina, Giardino del Tango, Via Assisi 33, historic Orangotango practica, tango events with show organized by Orangotango (like Gustavo Naveira workshop and Federico Naveira workshop). Musicalizador at Milonga Real in Bomarzo (Viterbo-italy), Milonga Libre (Latina-italy); musicalizador of Costa Crociera cruise named "pasion de Tango" ; musicalizador at "festival dell'america Latina" at Fiera di Roma; musicalizador at "festivalito de folclore argentino" en Roma; musicalizador at tango holyday in Ustica (an isle near Sicily). Musicalizador at milonga del Club Tango Comunidad Valenciana in Valencia (Spain).musicalizador at Rossotango milonga's in Taranto (Italy)
Properly enrolled at Siae with Deejay licensemy tandas are homogeneous for orquestas, singers or instrumental, decade and compas.
I prefer the danceable sounds of the 30s and 40s (Donato, Carabelli, Tipica Victor, Di Sarli, Canaro, Fresedo, D'arienzo, Biagi, Calò, Pugliese, Troilo, Tanturi, Rodriguez, Demare, D'agostino, Laurenz, rarely De Caro and Firpo), few incursions in the 50s (Pugliese, D'arienzo, De Angelis, Di Sarli, Biagi, Varela, Sassone, Salamanca) and some tanda of traditional nuevas orquestas (Color Tango, Sans Souci, Sexteto Milonguero).