s far as we know, hers was a second-line career. She is regarded as an actress only because she appeared in two movies. The first one made in Chile and the other, a co-production with Uruguay.

In our country, she had a bit part in ‘Campeón a la fuerza’, a movie of very low level, a poor production released for Dringue Farías and Carlos Castro (Castrito) who teamed up as a comic duo.

She appeared in musicals at different theaters, singing a tango and, on some occasion, with some short dialogue.

As a tango singer she made some tours not only in our country, but also in neighboring nations.

She started singing on LS6 Radio del Pueblo, in 1941, accompanied by the guitarists Legarreta and Di Nápoli. Later she appeared on the now disappeared Radio Stentor and, in 1945, on LR3 Radio Belgrano and, by that time, also on LR1 Radio El Mundo. Her work on the radio, with some interruptions, continued until 1974 when she decided to quit show business.

On her travels abroad, for a season she stayed in Santiago de Chile where Gabriel Clausi with his orchestra was appearing to wide acclaim. He invited her to join his group. At this period she settled in Santiago. In 1948, with the above orchestra, she recorded the tango “Tres esperanzas”. In it she evidences her personality and her vocal qualities. A strong voice with easy output, clear diction and a noticeable flavor of the outskirts without exaggerations.

She also recorded with the trio led by Rafael Rossi and with the Casadei brothers. On June 15, 1967 she recorded “Como abrazado a un rencor” and, time later, “Milonga que peina canas”, on May 28, 1974. Many years before, she had already recorded “Los amores con la crisis” with the orchestra fronted by Rossi, on October 7, 1948. We have to add “Chorra” and “Qué querés con París”, accompanied by an orchestra which is not identified on the record label.