stela was born —when the world was still in the «siglo veinte cambalache, problemático y febril» (problematic, feverish twentieth century)— in the San Isidro maternity ward and has always lived in Vicente López.

Her love for tango is not a question of fashion —as in many cases it occurs— and we may say that this love has not been acquired because she was born with it. «Tango —she tells us in relation to this— charmed me like a mermaid song. When she was unable to reach the door handle, she tried hard to open the door to see her parents and their friends dancing».

Years passed and that little girl unable to reach the door handle became The Sweet Voice of Tango. And she appeared in a large number of venues spreading the song of Buenos Aires, including also the country folk songbook, like in the old days those heroes of our national lore did (Great figures like Carlos Gardel, Ignacio Corsini or Rosita Quiroga, for example).

At those venues (Museo Casa Carlos Gardel, Academia Porteña del Lunfardo, Centro Cultural Recoleta, La Casa del Tango, Bien Bohemio, Teatro de la Ranchería, Biblioteca Café, Esquina Homero Manzi, Manzana de las Luces, Glorias Argentinas, El Aleph, Teatro Armenio and many others) she was accompanied by artists of the level of Pascual Mamone —aka Cholo—, Jorge Dragone, Julio Pane or by excellent musicians of the latter generations like Claudio Parenti —her customary guitarist—, Sebastián Colavecchia, Leandro de Rosa, Mario Gauna, Gustavo Borch, El Mono Pereyra (the guitarist in La Misa Criolla) or Franco Mateo Bonnet on percussion. Furthermore, she shared the bill with consecrated artists who are already in the tango hall of fame: Juan Carlos Godoy and Osvaldo Ribó.

She also gave singing lessons at the Academia Porteña del Lunfardo.

She was soon praised: Estela Crisis (member of Las Voces Blancas), when some years ago she went to attend classes, told her that she would teach her techniques but, fortunately, she had what not everybody possesses: feeling for interpretation. Soon she was also awarded: A la interpretación (for her performance)(Zona Norte, 2002), first prize Buscando la Voz del Tango (Zárate, 2010), first prize for musical composition-unpublished number (“Milonga del perdón”, words by Alda Salzarulo, 2011).

As composer she released pieces with José Tchercaski (“Tangura”, tango), Roberto Selles (“La primera mina”, “El barrio todavía”, tangos; “Isabelino Barrientos”, milonga; “Paisajito”, waltz), Alda Salzarulo (“La marca en el orillo”, tango; “¡La pucha con los recuerdos!”, milonga; “¡Dale, Manuela!”, candombe; “La siembra”, tonada; “La sed”, chacarera), “A Homero Manzi” (waltz), “Vara de Mimbre” (Milonga Campera), Juan José Vázquez (“Ana de los mil días”, song); Salvador Amalfa (“Cielo de ayer”, zamba), Aldo Escobar (“Lo que pasó”, tango), Haidé Daiban (“Caen las hojas”, tango), María Rosa Martínez (“Cara de trampa”, “Como no pude con vos”, tangos; “Raúl Garello y su bandoneón”, milonga) and with her own lyrics, the tangos “Te descubrí” and “Te estaba esperando”, and as well her songs for children —another of her facets— “El incondicional”, “Mi árbol” and “Candombe para Nahuel”.

Estela Bonnet is —unlike most vocal artists of today—, even though she sings glorious pieces of the old tango, a tenacious performer of new tango.

Then, with a career plenty of quality and effort, this female singer, who is really contemporary and rooted in tango, comes to this conclusion: «I think that the importance of all this is that I love the music with national identity, and I do my best by means of my interpretation to bring these wonderful stories written by our poets to the public».