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Womens of tango

As of the first hours of the tango of the women onebe present in spaces of this culture on the way, in particular in the song.

Thus, Lola Membrives, Azucena Maizani, Rosita Quiroga, Mercedes Simone, married the tango and their voices and their hearts gave him.

But for the majority of people, especially elsewhere than in Argentina, the name of Carlos Gardel remains the image of the singer. It is only much later than the European public will discover a voice of woman with Susana Rinaldi.

So well before the beginning of the tango-song, which one dates with Mi noche triste by Gardel in 1917, there were singers and singers, among those: Pepita Avellaneda, Flora de Gobbi, Linda Thelma and others, but we must be located after the success of Gardel to speak about the history of the song in the tango.

This one produced an incredible number singers, and singers. Normal, because the word is very important in its centre. The porteños, in very important proportion made up of the immigrants of fresh date as well as men coming from the countryside, was in the need for communicating,for saying what their soul contained, desire, memories, waitings, tears and laughter.

The times of great popular evolution of the tango, of assertion in the space of the city, Buenos Aires, correspond to the success which A knew the ball, which was animated by orchestras and the singerwas a fundamental part. Thus tens of the voices, splendid voiceswith various registers, emerged and enchanted the public. After the first singers: others populated spaces tango: Fama, Maida, Chanel, Beron, Fiorentino, Chanel, Castillo. Then Angelito Vargas, Julio Sosa, Jorge Sobral, Raul Lavié…

And women? and well, they were present but not in the balls. However the ball involved the tango during more than two decades. There were then great female figures, some extremely popular, like Libertad Lamarque and Tita Merello. But they sang in theatres or films, sometimes in public. The contactwas different, which does not have prevents that some are very liked figures of the public tanguero.

To follow the history of singers of tango enables us to explore and know other zones of this culture. The ball took a too important place in the imaginary collective, especially apart from Argentina. Thus, with Piazzolla share, the public which is interested in it intended to speak about Gardel, of Canaro, Pugliese, Di Sarli…., but little or not of Virginia Luque, Rosanna Falasca or Alba Solis, among others.

It is only recently that one sees on the scenes more and more singers, sometimes they live the country where they occur (as in France for Sandra Rumolino, Susana Blazko, Haydée Alba, Debora Russ and others), and those which occurred in spectacles, as Lidia Borda, Adriana Varela, Susana Rinaldi. Or Ana Karina Rossi, the greates uruguayan singer that follow the road start by Olga Delgrossi, Nina Miranda …

Today the place of the women in the tango is much more importantthan another time. What let us have to include itself/understand ? Probably that they occupied of more open spaces of expression, more open. The singers, as from the years ‘ 30 especially found ‘ singers of bal’ and it is only in the years ‘ 60 that Julio Sosa was listened of a public which was far from the tango, to see which ignored it and which especially did not practise it.

After Mercedes Simone which put its foot and its voice in an incipient medium, very male, a little dirty, the singers occupied another scene that that of the ball and there they were essential. As we said, it was with the screen or on boards of theatres thatLamarque, Merello, reached glory.

After the years ‘ 60 of the women plunged themselves in the tango to say their times. The large artist, poetess and singer, Eladia Blazquez brought an important freshness to the tango. It said the modernity of its city and its country, with a renewed voice, an innovative and engaged poetry. The women are probably those which stick more to historical and/or social reality of Argentina.

Adriana Varela or Rosanna Falasca, even while incorporating in their repertories of the tangos traditional, brings another approach, another relation between listening and tango.

And Amelita Baltar, the second wife of Astor Piazzolla which popularized poetries Horacio Ferrer, this poet who counts as much in the new poetic wave.

Currently singers like Julia Zenko, Lidia Borda, and so much of other young people, revisit the tango and refresh it, free not to haveto sing especially for the ball, but that sometimes one finds their voices in the space of the milonga.

The richness and the lighting which the voices of the women bring to this culture that we so much like are very clear and very important.

Let us not forget the talent of Virginia Luque, which in years TV, where the ball was a scarcity, sang a quite traditional tango, a tango of the ball for a public which did not dance and which was in a majority to listen to it. Thanks to it, as with men such Julio Sosa, the tango-song, even traditional remained alive.

And large Maria Graña who achieved a very important work in thesong, with a traditional repertory inviting of the artists, musicians or singers, giving another style to the broad topics of the tango, to see more recently with a more current work, into full restoration.

The singers in the tango offer to us a very vast reading of the course of this culture which knew to grow and remain creative and strong, even while having had to cross bad times. This culture which touches, nevertheless, so much sensitivities all over the world.I do not know if one can say that the place that the woman conquered in the Western company supported the place of the singer in the tango. Probably there are some causes. But I think that one can say that the company rather machist of then left little place to the woman within the ball, but not within the cinema or of the theatre, where it A occupiedof the places of choice.

It is which seems to us spring of the presence of the women in the song tango is their correspondence with the sociological context, and can be because they were less dependent on the space of the ball they crossed the times better when this one was at worst of its form.

Faithful to the tango, undoubtedly they wanted to have their place, to be accepted in this universe that they chose and liked, theywere very close to all the forms of poetries which came to say today.

They were essential, installed, and without any doubt they will remain with the front of the scene for a good end of history.

Bernardo Nudelman

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