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Letteratura: EL POLACO GOYENECHE
Postato il Monday, 24 October @ 00:21:05 CEST di vamos

Poesie - Storia - Letteratura El Polaco Goyeneche
Por Jorge Göttling.

En español

Jamàs utilizò un tono impersonal, ni para saludara desconocido.
 
 Tampoco usó el traje de prócer y se cuidó bien de controversias y complejidades. Parecía un chabón de Saavedra, un hombre ajeno al mundo de fluorescencias que lo rodeaba en los tiempos de gloria. Sin saberlo, Roberto Goyeneche estaba fabricando su incursión en el mito. La beatificación porteña, en cambio, sobrevino tras su muerte, una tontería de la historia: su público quedó paralizado cuando advirtió que El Polaco, que tenía respuestas para todo, se había ido definitivamente sin contestar las últimas preguntas.

Supo de baches y recovecos desde el volante de un colectivo y estacionó el hilo denso de su voz en la cochera reservada para los irrepetibles. También edificó leyendas, que se certificaron cuando su voz se había opacado y algunas grietas se advertían en su canto.

Ya curtido en las escuelas de las orquestas de Horacio Salgán y Aníbal Troilo, como solista rompió los libros y elaboró sus propias reglas cantoras, construyendo un estilo que no reconoce herencias y que no dejó herederos. Esa manera de decir por encima de la frialdad del pentagrama, emparentada con las de la Piaff o Chevalier, produjo revoluciones saludables, logró destapar orejas sordas, detuvo la marcha de anteriores formas cantables, las oxidó y las desalojó del gusto popular.
 
 
Hay marcas que bastan para explicar el éxito, el recuerdo, la reverencia, la unanimidad. Goyeneche fue capaz de triunfar en París frente a auditorios que sólo podían manejarse por intuición, incapacitados para percibir la versión del idioma, pero nada lerdos a la hora de comprender que se encontraban en presencia de un gran
artista.

Otra muestra fue la adhesión incondicional de universos etarios diferentes: en Buenos Aires cautivó a los jóvenes, en tiempos de virtual hegemonía nacional del rock. Sólo hay que desandar el calendario para comprobar que Goyeneche siempre les contó el tango a los infieles. Llegó a tal punto la veneración que, ya sobre el final, con la respiración empaquetada por el rigor implacable del enfisema, el público aplaudía hasta su tos.

Desde una perspectiva histórica, es necesario valorarlo como uno de los contados cantantes que consiguieron escapar de la influencia gardeliana, acaso justamente porque su admiración por Carlos Gardel alcanzaba el máximo grado, cercano a la idolatría. Esa alcurnia de distinto fue modelándose en las minucias de ese estilo pleno de expresividad, persuasivo hasta en los titubeos, que fue adquiriendo tics exacerbados a medida que se amarronó la voz, que se hizo arena.

Fue un fabricante de atmósferas, frecuentador de peligrosas cornisas por convicción y por el peso de su personalidad artística. Respetuoso de la inteligencia como forma superior de la palabra, hizo de la palabra y del silencio —que es su primera consecuencia— una profesión y un vicio. El silencio era su alimento: acaso por eso hablaba tan bien.

Vivió y murió con el corazón, la mirada y el gesto volcados a Saavedra, la noción barrial que lo contuvo. El barrio, sus códigos, sus personajes, sus tiernas cursilerías y sus historias reales o ficticias se contituyeron en su Olimpo tanguero, el habitáculo donde se desplazó siempre como si jamás se hubiera ido, con el valor de pertenencia que únicamente pueden dar la fidelidad y el amor.

Fue un porteño ingenuo, sensible, cordial, un arquetipo recio de códigos priorizados por viejas y entrañables costumbres de barrio a las que permaneció fiel.

Después de una agonía prolongada en 48 días, ese cuerpo diezmado en mil batallas nocheras se permitió abandonar la pelea. Provocó, entonces, una sensación de pérdida masiva, una descarga eléctrica de emociones que remite al duelo matriz de Medellín.

Y esa referencia gardeliana, por otra parte inevitable, será para siempre el soporte y el cimiento del edificio mitológico que El Polaco construyó.

 
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