nce upon a time, time was devoured by progress and that Camino Real (Royal road) of yesterdays saw that modernism went ahead carried by streetcars, even though wagons still passed going away or returning, carrying their precious load to the Mercado del Abasto, and open carts loaded with sand and cement came from the port.

So it became Rivadavia Avenue, where many years later, at a house built in front of its paving stones, a star was born and still today she presents us with her glow.

Her father was don Oreste Juan Guillermo Lamberti. Her mother, Herminia Trapanese. They were born in Italy and, eager to fecundate this blessed land which then sheltered them, they gave birth to Angela Herminia, a sensitive soul who understood and represented since early childhood the karma of our city song.

This girl was Alba Solís. She was born in Buenos Aires, in an area which then was known as Floresta. Her family moved later to Constitución and, thereafter, she came back to the West and settled in Flores.

She was an artist from the very beginning and as she herself says: «I didn’t choose my way. Things happened naturally as such». She was only four when she made her debut at the Pandilla Marilyn, to later appear at the Matinés de Juan Manuel and even later, already as a juvenile actress, with Atilano Ortega Sanz and Mario Amaya (Churrinche).

Tango was for her, since she was a child, her great passion and on her interpretations, she says, «I always showed myself exactly as I am». She never engaged in something she didn’t like or feel.

She studied with the Italian operatic singer María Naftri. To these lessons Alba added the features inherent to her temper and the secrets of the art of acting which she was naturally including in her renditions.

She sang on Radio Mitre in 1945 and, after a contest named Buscando la Voz del Tango (Looking for the tango voice) organized by Radio Splendid, she signed a four-year contract with that radio station. Her clearly outlined personality was completely evidenced on each of her performances. Her voice color and the great dramatic sensitivity of her singing soon made her become an outstanding figure. Her appearances on Radio Belgrano and Radio El Mundo, as well as her shows on television, helped her to win the hearts of large audiences.

Her career is full of big hits and to search for details of her long career is only an excuse to go on talking about her. It would be impossible to recall her complete career, but we shall try to produce a respectful summary.

Since her beginnings Alba imposed her own style. She firmly displaced her figure on the stage, raised her arms to stress a phrase and transmitted a strong feeling in the dark tones of her voice.

She made her debut on the Buenos Aires musical revue at the Teatro Comedia and soon she became the star of the genre. Her figure appeared gallantly on the stages of all the «cathedrals» of the revue where she was featured as actress and singer. She also had the privilege of dancing tangos as partner of the well-remembered Tito Lusiardo.

She appeared in Blum, the great theater hit by Enrique Santos Discépolo. As for Discépolo, it’s worthwhile to mention another event in which he and Alba were protagonists. In 1951 Homero Manzi, then very ill and nearing the end of his life, wrote along with Pichuco the tango “Discepolín”. Enrique heard for the first time this number at the El Colonial cabaret in Alba’s rendition. He would not have imagined then that a few months later he himself would meet his friend Homero in the Heavens above.

With Mariano Mores, The Mac Ke Mac's, Ubaldo Martínez and the dancers Mayoral and María Elena she appeared at the musical Buenos Aires canta al mundo and even though she was featured in several movies, she herself admits that she never was crazy for cinema.

When Francini and Pontier reorganized their orchestra in 1973 to especially perform in Japan, she was the female vocalist of the aggregation.

One year later, on her journey back after a show in the city of Rosario, she had a serious car accident. She managed to recover after a demanding rehab treatment.

For a long time she was a major figure in the successful show Tango Argentino which allowed her to be a worldwide known voice and made her unforgettable renditions of “Uno” and “La última curda” travel round the world.

She appeared to great acclaim and many times at the El Viejo Almacén and at Caño 14. At the latter, during the three stages of its existence. Firstly, at the venue located on 932 Uruguay Street, later on 975 Talcahuano Street and, finally, on 2134 Vicente López Street, the last location of this tango venue.

Alba Solís has not withdrawn from Tango, she continues making special appearances and teaching vocalization. According to what she told us she further has in mind several projects which she expects to materialize in a very near future.