“Baritone Eduardo Cogorno had the excellent idea of paying a new tribute to the genius and he won the support of Fundación
Astor Piazzolla and La Scala de San Telmo. One of the merits of the disc is that it rescues forgotten pieces. Another one is the respectful recreation of well known pieces. Eduardo Cogorno sings with fervorously, somewhat emphatcally, with Astor's
metropolitan tone, in a style that seems to lead us back to the refinement and tessitura of Edmundo Rivero. A very good
group of musicians add to the value of the cd: Adriana Rodríguez (flute), Jorge Biscardi (guitar) and Enrique Prémolí (piano).
The combination of guitar and flute is simply perfect. And the accompanying piano has moments of inspiration, as in “Tanguano".
René Vargas Vera (La Nación, 9/6/2002)

Compacto de compactos. "Baritone Eduardo Cogorno, one of the mentors of La Scala de San Telmo, leads this project,
sponsored by the Fundación Astor Piazzolla. The objetive is to pay a tribute to the great bandoneon
player from Mar del Plata , in a collection of his pieces for voice, composed in the late sixties.
The austere instrumenation and Cogorno's cavernous singing are enough to recreate the poetry of Borges, Horacio Ferrer
and Baldomero Fernández Morenothat Piazolla embellished with his melodies. A well deserved tribute.” (La Prensa, 12/05/02)

"Cogorno pays a tribute to Piazolla. Recent C.D.s. The tireless cultural activity of La Scala de San Telmo is a real pride to the neighbourhood after which it is named. Music takes the lion's share (there are art exhibits, too), most of the music is live but they produce C.D.s once in a while. "Renaceré en Buenos Aires (Un tributo a Astor Piazzolla)" is the third one, fully dedicated to Astor Piazzolla. It is the result of a series of successful recitals given by baritone Eduardo Cogorno, one of the founders of La Scala, over a period of five years. In the seventies he was a member of the well known Caurteto Zupay. At that time they performed at Michelangelo, where Piazzolla was also a perormer and they developed a friendly relationship. Piazzolla was very grateful that they sang his songs, which were part of their recitals. Cogorno carried on with his career and he always included Piazzolla in his recitals. Finally, he devoted a full recital to Piaziolla's music. In “Renaceré en Buenos Aires" he is accompanied by a group of excellent musicians: Adriana Rodríguez (flute), Jorge Biscardi and Omar Cyrulnik (guitars), Enrique Premolí (piano), Hernán Scotto (tenor saxophone), Ernesto Molina (bandoneón) and Sergio Rivas (bass); all of them have a chance to shine as soloists. The repertoire includes some of the well known pieces (but not the previously inevitable Balada para un loco), Chiquilín de Bachín, for example. But there is also a lot of material that is seldom played like Cuatro canciones porteñas, on Borges's poems, or Setenta balcones, inspired in the famous poem by Baldomero Fernández Moreno . As expected, most of the poems of the pieces sung were written by Horacio Ferrer, who was to Piazzolla what Hammerstein was to Rodgers. Cogorno renders them in his warm and velvety baritone, with impeccable musical quality, proof that Buenos Aires also has its own tpye of artistic singing...” Alfredo Cernadas Quesada (Buenos Aires Herald, 18/9/02)

"Made with the care and infinite love one uses for handicrafts, "Renaceré en Buenos Aires" is the result of a group of talentswho
have come together to record in a valuable C.D. a tribute to one of the most polemic and dazzling Argentine musicias, that is,
Astor Piazzolla... The record finds in the voice of Eduardo Cogorno (of lyric schooling but well adapted to popular music) and in the instrumental participation of Adriana Rodríguez, Jorge Biscardi, Enrique Premolí and guest performers, genuine artists
at the service of an extremely beutiful work of the composer from Mar del Plata. Some of Piazzolla's “inevitables” are present
in this moving tribute, full of intimate echoes. The letters by Horacio Ferrer, Jorge Luis Borges and Baldomero Fernández Moreno
find in Cogorno's deep and clear voice a faithful interpreter of perturbing and moving visions of Buenos Aires.
The C.D. treasures seventy minutes of invaluable music, we recommend it warmly".
Eduardo Giorello (El Día, 4/5/02)