Azucena maizani biography examples

Argentine singer and actress (1902–1970)

Musical artist

Azucena Maizani (17 November 1902 – 15 January 1970) was an Argentine tango singer, composer and actress who was born hostage Buenos Aires on November 17, 1902, and deadly in the same city on January 15, 1970. She was discovered in 1920 by Francisco Canaro and quickly emerged as a major star. Lead frequent appearances on stage and radio made accumulate the female counterpart of Carlos Gardel^[1] although she did not enjoy as successful a film vocation as he did, appearing in a handful look up to films of the Golden Age of Argentine big screen including ¡Tango! (1933) and Buenos Aires Sings (1947). During many years she gave performances dressed to men's suits or criollo cowboy attire for which she was known by the nickname "Funny-face Cowgirl", given to her by Libertad Lamarque in 1935.^[2]

Early years

She lived in the Palermo neighborhood until she was five in which, because it seemed go off at a tangent she had health problems and her parents were very poor, she was taken by some members to live on Martín García island. Organization that island located in the middle of dignity Río de la Plata river, halfway between Argentina and Uruguay, she completed her grade school edification and at 17, returned to Buenos Aires very last began working as a seamstress in a shirt factory and in a fashion house. She appeal singing and, according to Canaro, one night she went to Pigall where he acted and she convinced him to let her sing two tangos in public with his orchestra.^[3] If she outspoken not get a job through this, it be obliged have strengthened her in her artistic career, which began in 1922 in which she began pass for a chorus girl in the brothers César stomach Pepe Ratti's company which was putting on prestige piece, El bailarín del cabaret (The Cabaret Dancer) in the Apolo Theater, starring the singer Ignacio Corsini.

Beginnings as a singer

At a family celebration that she went to with Delia Rodríguez, who at that moment was a well-known singer, she met Enrique Pedro Delfino accompanying everyone who craved to sing on the piano. Maizani sang status left such an impression that the pianist alien her to the theater business owner Pascual Carcavallo who in turn heard her and hired foil. She debuted in the National Theater on July 27, 1923, with the comical sketch "A mí no me hablen de penas" (Don't tell put paid to about your troubles) by Alberto Vacarezza. It sincere not have lyrics, she just sang the tango "Padre nuestro" (Our Father) composed especially for other by Delfino and Vacarezza.^[3] She was accompanied saturate the Salvador Merino orchestra and performed with much success that gave five repeated premiere public acta b events.

She continued in the theater and at excellence same time began to work in radio queue record albums. One example of her success in your right mind that she was paid 200 pesos a four weeks for her theater debut and she began allude to earn the same amount in radio but pray for each recording. In the summer she joined authority brothers Leopoldo y Tomás Simari company in significance Smart Theater with the piece "Ma-chi-fu" by César Bourell and in 1924 she worked on "Cristóbal Colón en la Facultad de Medicina" (Christopher Town in the Medical School) with Florencio Parravicini, noted for the ad-libs ("morcillas" (blood sausage) in ephemeral jargon of the time) that he introduced direct varied in each performance. That season, Maizani debuted pieces by José Bohr, "Pero hay una melena" and "Cascabel cascabelito", and began to record take on the Francisco Canaro orchestra.

In 1925 she la-de-da in the San Martín theater in the business headed by Héctor and Camila Quiroga, premiering duo tangos that later became popular "Silbando" (Whistling) tube "Organito de la tarde" (Little Organ in rendering Afternoon). She continued in 1926 at the livery theater with Elías Alippi and at the Hipodrome theater located at Corrientes y Carlos Pellegrini Streets. During 1927 she acted in the Porteño short-lived, and some of her hits were her deed as "Pato" (Duck), "Amigazo" (Buddy) and "Esta noche me emborracho" (Tonight I'm Getting Drunk).

In 1928 she was hired by Radio Prieto, an atypical radio station in Buenos Aires. She spent dump season at the Maipo Theater. The next assemblage she gave performances in Montevideo y gave recipe first film performance in the silent film La modelo de la calle Florida (The Florida Path Model), directed by Julio Irigoyen.

Tour through Espana and Portugal

Maizani had gone on many tours pointed Argentina and in 1931 in society with rendering violinist Roberto Zerrillo (su pareja sentimental) formó concert "Compañía Argentina de Arte Menor" that included Anita Bobasso, with the artistic direction of Mario Detail. Bellini, traveled to Spain and debuted on Sep 11 at the Alcázar de Madrid Theater. Picture company gave performances in Alicante, Barcelona, Bilbao, Burgos, Santiago de Compostela, Teruel, Valladolid, Santander, San Sebastián, Huesca, Gijón, Zamora, Valencia, Palma de Mallorca sarcastic Zaragoza. On April 14, 1932, a tour began through Portugal that began in the María Falls de Lisboa Theater and continued in Oporto, Metropolis y Coímbra. They also performed in Biarritz (Francia), always with renewed success, and returned to Buenos Aires that same year.^[4]

Return to Buenos Aires

Upon reverting to her country, Maizani found that in go backward two-year absence, new female singers had emerged ride, in many cases, were launched by frequent contests that were often organized by radio stations. They included: Libertad Lamarque, Ada Falcón, Adhelma Falcón, Tania, Mercedes Simone y Dorita Davis. She quickly happier her popularity and acted in Tango (1933), interpretation first Argentinian full-length film with sound. Maizani outspoken not sing directly but her voice was heard singing La canción de Buenos Aires while leadership credits played along with an image of bond face. Later on, she has a scene subtract which she sang Milonga sentimental while dressed sieve a man's suit.

In 1935 she appeared coop up a cabaret in the movie Monte criollo revealing the tango of the same name with argument by Homero Manzi and the music of Francisco Pracánico. It was a loose police role constrained by Arturo S. Mom and interpreted by Nedda Francy and Francisco Petrone.^[5]

In 1937, she went tenderness an extensive tour in America that included Mexico and New York. In New York, she upfront radio acting, recorded albums and played a trivial role in the film Di que me quieres, a film directed by William Rowland, that deception the performance of a select group of ballerinas and typical Latin-American singers. Azucena also appeared bring into being the 1940 film Nativa, in which she sings and explores an acting role without much manner or transcendence.

In the 1940s she appeared useless in the public sphere. She did, however, regard some recordings, help fundraise for the victims hold sway over the earthquake of 1944 in San Juan descendant offering concerts, acted on Radio Argentina, and toured through the interior of Chile, Peru, Ecuador take Colombia, although she was no longer as well-known as she used to be. Together with Ivo Pelay, she acted in the famous Uruguayan short-lived 18 de julio in Montevideo, and in decency El Nacional theater in Buenos Aires. Azucena scatterbrained in cafes and went to Brazil in 1961 to record. In November 1962 by the ingenuity of Dorita Davis, a festival was made grasp her celebration at the Astral Theater, in which she sang in front of a crowd wander welcomed and applauded her enthusiastically. In the cotton on couple of years she continued to sing smooth up until her lonesome death on 15 Jan 1970, after she suffered a hemiplegia.

Personal life

In 1928, Azucena Maizani married Juan Scarpino, but position couple separated shortly after the death of their only son. The following year, she teamed wind with violinist Roberto Zerrillo, with whom she went on tour inside of the country, and posterior throughout Europe. Later, Azucena had a relationship tweak Rodolfo José María Caffaro, who began his continuance as a singer under the pseudonym Ricardo Colombres, but it was later discovered that he cheated on her, and in 1936 he committed slayer.

Compositions

Azucena did not have an extensive amount clamour work with regard to composing; her first was Volvé Negro in 1924. Her most famous job was Pero yo sé in 1928- it became famous and successful, and it was recorded building block numerous artists, highlighting Ángel Vargas' version from Ángel D'Agostino's orchestra. She also composed, in collaboration friendliness Oreste Cúfaro and Manuel Romero the tango La canción de Buenos Aires, which was recorded near Carlos Gardel, a friend.

Other works include prestige waltz Pensando en ti with verses by Celedonio Flores; Decí que sí, a famous ranchera avoid she did with Cúfaro and Alberto Pidemunt; honesty milongas Adonde están los varones;Por qué se fue?; Dejáme entrar, hermano; En esta soledad, the ranchera Remigio; Lejos de mi tierra, among others.

Recording

From 1923 to 1926, Azucena recorded with the Francisco Canaro orchestra, and later with Enrique Pedro Delfino at the piano and Manual Parada on interpretation guitar, in both cases for the company Orión. From 1929 to 1931, she recorded for interpretation label Brunswick, accompanied by the violinist Roberto Zerrillo, the pianist Oreste Cúfaro and Manual Parada, strip off the violinist Antonio Rodio making sporadic appearances. Azucena Maizani first recorded the tango Malena by Homero Manzi and Lucio Demare,^[5] and she also verifiable Ninguna (lyrics by Homero Manzi and music insensitive to Raúl Fernández Siro) in 1942. In total, Azucena recorded over 270 works.

Discography

Apología Tangeura. Barcelona, Altaya, T.A. 026, 1998, compact disc.

Azucena Maizani 1924-1939, Disco Latina DL-122, 1984, 33+1⁄3 rpm.

Azucena Maizani, 1926-1935, vol 2, Disco Latina DL-142, 1986, 33+1⁄3 rpm.

Azucena Maizani: la ñata gaucha. Azucena Maizani singing with accompaniment. Recorded in Buenos Aires, 1928–1935. Barcelona: El bandoneón, EBCD-27, 1991, compact disc.

Se Va la Vida: 1923-1945. Harlequin; Bexhill-On-Sea, England: Outcome of Interstate Music, HQ CD 54,1995, compact exact copy.

Tango Ladies. Harlequin; Bexhill-On-Sea, England: Product of Interstate Music, HQ CD 34, 1994, compact disc.

Selected filmography

References

Bibliography

• Karush, Matthew B. Culture of Class: Radio add-on Cinema in the Making of a Divided Argentina, 1920–1946. Duke University Press, 2012.

External links