04 Rosita Quiroga , woman in the Tango

She was the first singer, direct heiress of the primitive
payadores. His is a unique case in the history of the woman in the
tango. No one expressed as she, sang with the same cadence and the
same I left with the speaker, was the female prototype
-irrepetible- of the suburban.

He played naturally, as he did, and played the guitar by tone, as
Juan de Dios Filiberto, his neighbor in the neighborhood of La Boca
taught.

He spoke by interlacing vulgar words, with a canyengue rhythm, as
he would have heard it from the men of his house, port workers, and
carreros. She did it with a lisp and her voice was not powerful but
it generated an intimate atmosphere as if singing for herself. This
style accompanied her until her death despite the fact that she had
already overcome poverty and had a very well-off economic
position.

Journalist Jorge Göttling called it "The Buenos Aires Edith
Piaff".

It appeared at the precise moment and was different at all.

The success came quickly, was beloved daughter of the company
Victor to which he was faithful throughout his career. It began to
record in 1923, the first record was a style titled "Always
Creole". His first tango was "La tipa", by guitarist Enrique Maciel
and lyrics by Enrique Maroni.

It was her and of course the label Victor, who inaugurated in
Argentina the era of electrical recordings. The event happened on
March 1, 1926, that day made four electric recordings, but by
number of matrix the first and therefore emblematic in the record
history of our country was "The muse mistonga", by Antonio Polito
and Celedonio Flores.

It continued until 10 of February of 1931, when also registered
four subjects. He practically then ended his career, he was 35
years old, although he continued to appear on radio, sporadically.
He did not like performing in public.

During that very successful period (1923-1931) he managed to have
much predicament in the decisions of the record label, to such an
extent that his management made the great Agustín Magaldi, then an
unknown singer, record in the company.

For many years the poet Celedonio Flores wrote only for her,
creating 24 subjects, among which are "Boy" and "Beba" (with music
by Edgardo Donato), "Audacia" (Hugo La Rocca), "Carta brava" With
music by herself), "The muse mistonga" (Antonio Polito) and
"Contundencia" (Mario Micchelini).

He returned to the album in March 1952 and made four songs and his
farewell occurred on September 14, 1984 (32 days before his death),
urged by his friend and personal doctor Dr. Luis Alposta,
accompanied by guitarist Aníbal Arias and His set, recording
"Campaneando mi pasado", with lyrics of Alposta and his
music.

In 1970 he traveled to Osaka, Japan, for an invitation from the
members of a tango rock that bears his name.

Almost always accompanied by guitarists, but at the beginning she
also sang accompanied by the orchestras of Carlos Vicente Geroni
Flores, Antonio Scatasso, Eduardo Pereyra, Manuel Buzón and others,
all belonging to the label Victor.

Rosita Quiroga is the most genuine representative of the tango
suburban, today a legend of the most rancid Buenos Aires, for many
the greatest, and is revered by all who love this great paradigm
called tango.