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longer as famous as she used to be. Together with Ivo Pelay, she acted in the famous
Uruguayan theater 18 de julio in Montevideo, and in the El Nacional theater in Buenos Aires. Azucena acted in cafes and went to Brazil in 1961 to record. In November 1962 by the initiative of Dorita Davis, a festival was made in her celebration at the Astral Theater, in which she sang in front of a crowd that welcomed and applauded her enthusiastically. In the next couple of years she continued to sing even up until her lonesome death on 15 January 1970, after she suffered a hemiplegia.
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Argentina and
Uruguay, she completed her grade school education and at 17, returned to Buenos Aires and began working as a seamstress in a shirt factory and in a fashion house. She liked 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. If she did not get a job through this, it must have strengthened her in her artistic career, which began in 1922 in which she began as a chorus girl in the brothers César and Pepe Ratti's company which was putting on the piece,
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Tomás Simari company in the 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 Columbus in the Medical School) with Florencio Parravicini, famous for the ad-libs ("morcillas" (blood sausage) in theater jargon of the time) that he introduced and varied in each performance. That season, Maizani debuted pieces by José Bohr, "Pero hay una melena" and "Cascabel cascabelito", and began to record with the Francisco Canaro orchestra.
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Carcavallo who in turn heard her and hired her. She debuted in the
National Theater on July 27, 1923, with the comical sketch "A mí no me hablen de penas" (Don't tell me about your troubles) by Alberto Vacarezza. It did not have lyrics, she just sang the tango "Padre nuestro" (Our Father) composed especially for her by Delfino and Vacarezza. She was accompanied by the Salvador Merino orchestra and performed with such success that gave five repeated premiere public performances.
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From 1923 to 1926, Azucena recorded with the
Francisco Canaro orchestra, and later with Enrique Pedro Delfino at the piano and Manual Parada on the guitar, in both cases for the company Orión. From 1929 to 1931, she recorded for the label Brunswick, accompanied by the violinist Roberto Zerrillo, the
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In 1928, Azucena
Maizani married Juan Scarpino, but the couple separated shortly after the death of their only son. The following year, she teamed up with violinist Roberto Zerrillo, with whom she went on tour inside of the country, and later throughout Europe. Later, Azucena had a relationship with
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In the 1940s she appeared less in the public sphere. She did, however, make some recordings, help fundraise for the victims of the earthquake of 1944 in San Juan by offering concerts, acted on Radio
Argentina, and toured through the interior of Chile, Peru, Ecuador and Colombia, although she was no
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She continued in the theater and at the same time began to work in radio and record albums. One example of her success is that she was paid 200 pesos a month for her theater debut and she began to earn the same amount in radio but for each recording. In the summer she joined the brothers
Leopoldo y
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In 1925 she worked in the San Martín theater in the company headed by Héctor and Camila
Quiroga, premiering two tangos that later became popular "Silbando" (Whistling) and "Organito de la tarde" (Little Organ in the Afternoon). She continued in 1926 at the same theater with Elías Alippi and at the
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She lived in the
Palermo neighborhood until she was five in which, because it seemed that she had health problems and her parents were very poor, she was taken by some family members to live on Martín García island. On that island located in the middle of the Río de la Plata river, halfway between
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At a family party that she went to with Delia Rodríguez, who at that moment was a well-known singer, she met Enrique Pedro Delfino accompanying everyone who wanted to sing on the piano. Maizani sang and left such an impression that the pianist introduced her to the theater business owner Pascual
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Hipodrome theater located at Corrientes y Carlos Pellegrini Streets. During 1927 she acted in the Porteño theater, and some of her hits were her performances as "Pato" (Duck), "Amigazo" (Buddy) and "Esta noche me emborracho" (Tonight I'm Getting Drunk).
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in 1928- it became famous and successful, and it was recorded by numerous artists, highlighting Ángel Vargas' version from Ángel D'Agostino's orchestra. She also composed, in collaboration with Oreste Cúfaro and Manuel Romero the tango
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In 1928 she was hired by Radio Prieto, an important radio station in Buenos Aires. She spent that season at the Maipo Theater. The next year she gave performances in Montevideo y gave her first film performance in the silent film
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Upon returning to her country, Maizani found that in her two-year absence, new female singers had emerged and, in many cases, were launched by frequent contests that were often organized by radio stations. They included:
117:(1947). During many years she gave performances dressed with 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.
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Rodolfo José María Caffaro, who began his career as a singer under the pseudonym Ricardo Colombres, but it was later discovered that he cheated on her, and in 1936 he committed suicide.
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Maizani had gone on many tours in Argentina and in 1931 in society with the violinist Roberto Zerrillo (su pareja sentimental) formó la "Compañía Argentina de Arte Menor" that included
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In 1937, she went on an extensive tour in America that included Mexico and New York. In New York, she did radio acting, recorded albums and played a minor role in the film
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pianist Oreste Cúfaro and Manual Parada, with the violinist Antonio Rodio making sporadic appearances. Azucena Maizani first recorded the tango
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Azucena Maizani singing with accompaniment. Recorded in Buenos Aires, 1928-1935. Barcelona: El bandoneón, EBCD-27, 1991, compact disc.
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who was born in Buenos Aires on November 17, 1902, and died in the same city on January 15, 1970. She was discovered in 1920 by
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300:(1933), the first Argentinian full-length film with sound. Maizani did not sing directly but her voice was heard singing
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and quickly emerged as a major star. Her frequent appearances on stage and radio made her the female counterpart of
175:, with the artistic direction of Mario J. Bellini, traveled to Spain and debuted on September 11 at the Alcázar de
417:(lyrics by Homero Manzi and music by Raúl Fernández Siro) in 1942. In total, Azucena recorded over 270 works.
325:. It was a loose police role directed by Arturo S. Mom and interpreted by Nedda Francy and Francisco Petrone.
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although she did not enjoy as successful a film career as he did, appearing in a handful of films including
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while the credits played along with an image of her face. Later on, she has a scene in which she sang
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480:. Harlequin; Bexhill-On-Sea, England: Product of Interstate Music, HQ CD 54,1995, compact disc.
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Harlequin; Bexhill-On-Sea, England: Product of Interstate Music, HQ CD 34, 1994, compact disc.
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Azucena did not have an extensive amount of work with regard to composing; her first was
537:"Neither Virgins nor Whores: Tango Lyrics and Gender Representations in the Tango World"
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Culture of Class: Radio and Cinema in the Making of a Divided Argentina, 1920–1946
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y Dorita Davis. She quickly recovered her popularity and acted in
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Por qué se fue?; Dejáme entrar, hermano; En esta soledad,
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by Homero Manzi and Lucio Demare, and she also recorded
95:(17 November 1902 – 15 January 1970) was an Argentine
428:. Barcelona, Altaya, T.A. 026, 1998, compact disc.
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317:singing the tango of the same name with lyrics by
597:Hemeroteca Digital. Biblioteca Nacional de España
624:(in Spanish). Buenos Aires. pp. 171, 227.
311:In 1935 she appeared in a cabaret in the movie
620:Salas, Horacio (2001). Vergara, Javier (ed.).
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577:Dos Santos, Estela (1978). "Las cantantes".
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593:"El Heraldo de Madrid. 16/9/1931 Page 6"
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365:in 1924. Her most famous work was
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381:with verses by Celedonio Flores;
741:20th-century Argentine actresses
716:Burials at La Chacarita Cemetery
553:10.1111/j.1540-5931.2006.00234.x
472:Azucena Maizani: la ñata gaucha.
535:Viladrich, Anahí (April 2006).
308:while dressed in a man's suit.
167:Tour through Spain and Portugal
163:), directed by Julio Irigoyen.
666:. Duke University Press, 2012.
541:The Journal of Popular Culture
377:Other works include the waltz
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434:, Disco Latina DL-122, 1984,
157:La modelo de la calle Florida
726:Musicians from Buenos Aires
452:Azucena Maizani, 1926-1935,
83:Singer, Songwriter, Actress
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372:La canción de Buenos Aires
302:La canción de Buenos Aires
736:Argentine tango musicians
706:Argentine stage actresses
432:Azucena Maizani 1924-1939
387:Adonde están los varones;
259:. They also performed in
247:Theater and continued in
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711:Argentine film actresses
622:Homero Manzi y su tiempo
478:Se Va la Vida: 1923-1945
161:The Florida Street Model
128:El bailarín del cabaret
75:Buenos Aires, Argentina
271:Return to Buenos Aires
197:Santiago de Compostela
138:Beginnings as a singer
38:Background information
731:Argentine songwriters
332:, a film directed by
490:Selected filmography
662:Karush, Matthew B.
323:Francisco Pracánico
306:Milonga sentimental
579:Historia del tango
505:Buenos Aires Sings
398:Lejos de mi tierra
132:The Cabaret Dancer
114:Buenos Aires Sings
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330:Di que me quieres
321:and the music of
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383:Decí que sí
363:Volvé Negro
121:Early years
690:Categories
603:2023-09-09
513:References
367:Pero yo sé
282:Ada Falcón
205:Valladolid
49:1902-11-17
640:cite book
561:0022-3840
404:Recording
209:Santander
185:Barcelona
60:Argentina
261:Biarritz
241:Portugal
237:Zaragoza
229:Valencia
181:Alicante
497:¡Tango!
463:⁄
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394:Remigio
265:Francia
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101:actress
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338:Nativa
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225:Zamora
217:Huesca
201:Teruel
193:Burgos
189:Bilbao
177:Madrid
468:rpm.
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298:Tango
290:Tania
253:Braga
221:Gijón
681:IMDb
646:link
626:ISBN
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
