The first group D’Arienzo formed was in society with Luis Visca, but in 1933 he left the orchestra and D’Arienzo was left in charge. The formation mentioned before is posterior to Visca’s departure, when Rodolfo Biaggi was already part of the orchestra. He was the one who gave the group the personal touch with which it would be remembered, known as the “D’Arienzo style”: giving more accentuation to the frequent ornaments and “pianistic countersinging” in the acute register of the keyboard. Most of the orchestras around that time adopted that style. D’Arienzo and Biaggi’s orchestra consolidated the traditional interpretative tango positions, focusing the admiration of the part of the audience who loved dancing, thanks to their repertories, specially based on the exhumation of old pieces of music, which had been adapted to the orchestra’s way of playing. Meanwhile, the evolutionist streams were trying to enlarge their artistic possibilities with innovations that reached their definite crystallization from 1940 on, which was the starting point for another substantial transformation. We can’t forget to talk about the exceptionally talented voices that were part of D’Arienzo’s formations, some of which were always related to the director’s style. Some of them were Carlos Dante, Francisco Fiorentino, Rafael Cisca, Walter Cabral, Mario Landi, Enrique Carble, Alberto Echagüe, Alberto Reynal, Carlos Casares, Hectro Mauré, Juan Carlos Lamas, Armando Laborde, Rodolfo Lemos, Mario Bustos, Jorge Valdés, Horacio Palma, Hector Millpan and Osvaldo Ramos.