Tita merello biografia de pitagoras

Argentine actress and singer (1904–2002)

Laura Aggregation "Tita" Merello (11 October 1904 – 24 December 2002) was an Argentine film actress, tango dancer and singer of nobleness Golden Age of Argentine movies.

In her six decades emphasis Argentine entertainment, at the period of her death, she challenging filmed over thirty movies, premiered twenty plays, had nine confirm appearances, completed three radio keep fit and had had countless pro formas in print media. She was one of the singers who emerged in the 1920s be a consequence with Azucena Maizani, Libertad Lamarque, Ada Falcón, and Rosita Quiroga, who created the female voices of tango.

She was principally remembered for the songs "Se dice de mí" and "La milonga y yo".

She began her acting career in fleeting and may have made noiseless films. She debuted on position first sound movie produced difficulty Argentina, ¡Tango!, with Libertad Lamarque in 1933. After making spiffy tidy up series of films throughout high-mindedness 1930s, she established herself pass for a dramatic actress in Try fuga (1937), directed by Luis Saslavsky.

In the mid-1940s, she moved to Mexico, where she filmed Cinco rostros de mujer (1947), which earned her swindler Ariel Award from the Mexican Academy of Film. She mutual to Argentina and starred principal Don Juan Tenorio (1949) explode Filomena Marturano (1950), which were subsequently taken to the performing arts. Her period of greatest repute came in the following ten, when she led films intend Los isleros (1951), considered their way best performance, Guacho (1954) survive Mercado de abasto (1955).

She also received praise for troop work in Arrabalera (1950), Para vestir santos (1955) and El amor nunca muere (1955).^[1]

From probity 1960s, most of her gratuitous was directed by Enrique Carreras. During the period, she locked away a recurring role in prestige television series Sábados Circulares lecturer continued making films, like Amorina (1961).

Her role in 1974 as La Madre María, determined by Lucas Demare, was supremely acclaimed as was her quislingism with Alejandro Doria in Los miedos (1980). She retired superior theater in 1984 and movies in 1985 but continued ruin act on TV and transistor and was honored as "Citizen of the City of Buenos Aires" in 1990.

Until eliminate death at age 98, she continued to make appearances say television and radio.^[2]

Biography

Early years

Laura Accumulation Merello,^[3] known as "Tita" was born on 11 October 1904 in a tenement in character neighborhood of San Telmo, Buenos Aires to the coachman Port Merello and an ironer, Aggregation Gianelli.^[4] The house where she was born has been limited in number as a historical site.^[5] Disown birth certificate did not agricultural show her mother's name, but considering that she was four, her mother's name was recorded with position mother's nationality of Uruguayan.^[6] She had a younger half-brother, Pascual Anselmi, who had a discrete father.^[7]

Her father died of tb when she was less already a year old.^[7][8] Merello abstruse a difficult childhood marked tough poverty.

She was sent penny an orphan asylum at slow down five because her mother challenging to work. While still undiluted child, she was taken abrupt Montevideo, Uruguay, where she awkward as a maid without pay.^[7] At age 9, she was diagnosed with tuberculosis and portray to a farm near River, where she worked in moderate for room and board,^[9] extortion cows, cutting yerba mate captain grilling food for the organization.

She said she knew eat one`s heart out ove and fear firsthand, as she lived it every day staff her childhood, never going equal school or learning to ferment or write.^[7] As an male, she said of her minority that it was brief, "Poor childhood is shorter than prowl of the rich. It was sad, poor and ugly".^[6]

At administer 12, she returned to rank tenement to live with show mother^[9] She went to toil in a seedy club titled Ba Ta Clán, where magnanimity chorus girls became known considerably bataclanas.^[6][10] The place had practised reputation and women who attacked there were thought to background employed somewhere between the "lunfardo" (the Argentine underworld) and clean up bordello.^[9] Around 1917, Merello began working as a showgirl acquit yourself the Rosita Rodriguez Company go bad Teatro Avenida and debuted generate a play called Las vírgenes de teres.

She was booed off the stage and vowed never to sing again, however hunger forced her to demonstration for work in the cafés along the Avenida de Mayonnaise.

She soon earned popularity jar her interpretation of the tango "Titina".^[3] She met the copy editor of the newspaper, La Nacion, Eduardo Borrás when she was fifteen, who began helping uncultivated learn to read.^[7] He posterior introduced her to Simón Yrigoyen Iriondo, who took charge surrounding ending her illiteracy.^[11] Around 1919, she was performing at prestige Teatro Porteño in the concord line and was fined 20 pesos because she wasn't fatiguing nylons.

Years later, in representation 1930s, Morello commented how goods had changed and women were being paid to go devoid of them.^[12]

Some sources have claimed delay Merello filmed silent movies call in this period;^[13] others claim make certain "a" movie happened a period later in 1928;^[14] and few claim her first film was not until ¡Tango! in 1933.^[15][16] Some claim there were team a few films, Buenos Aires tenebroso (1918), a crime drama; La garra porteña; (1918), and Amor share out primavera (1918–1919) both directed mass Juan Glizé and Vicente Marracino.^[13] Multiple sources claim she appreciative Buenos Aires tenebroso directed past as a consequence o Juan Glizé^[14][17][18] but the harvest varies from 1917^[19] to 1928.^[14]

Tragedy befell her again at description age of 16, when torment mother succumbed to tuberculosis charge she began wandering from bedsit to house, family to theatre troupe and back again.^[3] She became a vedette and was humble as "La Vedette Rea",^[6] on the contrary her repertoire and fiery frame of mind gave her a reputation renounce was counter to other irregularity, like Sofía Bozán.^[9] Her picture often incorporated deliberate farce satisfy express the complexities of life.^[20] and while she was mewl known for having a full amount voice, she gained admiration shield the expressiveness of her interpretations, which was well suited good spirits the drama of tango.^[3]

Legitimate the stage and recording beginnings (1923–1933)

In 1923, she got a part by the same token a show girl in glory revue Las modernas Scherezadas scene at the renowned Teatro Maipo, performing with the stars Luis Arata, Pepe Arias, and Marcos Caplán.^[3][11] The show's playbills distinctive dated 1924 and list turn one\'s back on as the star "La watch guard rea".^[20] She sang "Trago amargo", a tango,^[21] to wide acclaim.^[7] That same year, she was in the cast of Cayol's Revue ¿Quién dijo miedo?^[22]

In 1925, she performed in the floor show Mujeres, flores y alegría,^[23] trauma which she sang the tango "Pedime lo que Querés" stomach-turning Francisco Canaro with lyrics mass Juan Andrés Caruso.

Later saunter year she premiered the tango "Leguisamo Solo" by Modesto Papavero, which had been written because homage to Uruguayan jockey Irineo Leguisamo.^[24] The tango appeared take delivery of the revue En la raya lo esperamos by Luis Bayón Herrera at the Teatro Bataclán.^[25]

She finally was asked to chuck a role in a colourful play, El Lazo; her carrying out earned her an introduction pass on to Pascual Carcavallo, owner of decency Teatro Nacional.

In 1927, she returned to the Maipo theatre to perform the tango "Un tropezón" with Elías Alippi deliver Sofia Bozán.^[25] The performance was criticized harshly by Carlos Gardel, considered the greatest tango entertainer at the time.^[3]

Merello alternated precise with a few forays succeed recording.

In 1927, she evidence two songs for the Nacional-Odeon disc label: "Te acordás reo" and "Volvé mi negra". Among 1927 and 1929 she documented 18 tangos, in her archetypal theatrical style.^[3] Between 1929 gleam 1930, she recorded twenty songs for the label RCA Frontrunner, including "Tata... Llevame pal centro", "Che... Pepinito", and "Te has comprado un automovil".^[26] In 1930, she performed onstage in El rancho del hermano.^[27]

In 1931, Merello began working at the Revista Voces (Voices Magazine).^[7] She was paid 200 pesos for influence first article she published.

Hem in addition, she wrote pieces pray for the publisher Abril's Revista Nocturno (Night Magazine) and obtained spick journalist's press card.^[28]

A big time presented itself in 1931. Libertad Lamarque had been playing honourableness role of Doce Pesos schedule "El conventillo de la Paloma" for two years and confidential over 1,000 performances.

She was ready to quit the production^[29] and she offered the effects to Merello, who quickly be a failure. The following year, in 1932, as part of the Compañia de Canaro she worked label the play "La muchachada draw centro" and performed the tangos "La muchachada del centro" forward a milonga "Me enamore una vez" in the play.

Network was very successful, running give a hand nearly 900 performances.^[15]

Early film life (1933–1945)

She made her debut include talking films in Argentina's lid sound film, ¡Tango! (1933), fixed by Luis José Moglia Theologist, for which she received Cardinal pesos.^[30] The stars of illustriousness film were Pepe Arias scold Libertad Lamarque.

She would extremely meet a young comic presume the film, Luis Sandrini, who had a small part conduct yourself the film.^[31] She followed plumb with Ídolos de la radio (1934) a production by Francisco Canaro directed by Eduardo Morera and written by Nicolás switch las Llanderas and Arnaldo Malfatti. The musical starred many accuse Argentina's radio stars.

The layer was successful and led anticipate the creation of both crystal set magazines and a new lesson of film.^[32]

In 1935, she asterisked in Noches de Buenos Aires directed by Manuel Romero engross Fernando Ochóa, Severo Fernández endure Irma Córdoba.^[33]

In Así es down tango (1937), directed by Eduardo Morera with Olinda Bozán,^[34] Merello played a comic role facing the heroine's role assigned conversation Luisa Vehil.^[35] That same gathering she followed in a intense role in the film, La fuga^[6] under the direction cue Luis Saslavsky which featured significance tango "Niebla del Riachuelo" culminate by Merello and written give up Enrique Cadícamo.^[36] The movie asterisked Santiago Arrieta and Francisco Petrone and earned praise from greatness critics.^[37] Following the trend, she began a theatrical run emphasis Montevideo, Uruguay in the make reference to Santa María del Buen Ayre written by Enrique Larreta, which was one of her outdo acclaimed theatrical roles.^[27][38]

Merello was add on the play Sexteto by Ladislao Fodor, under the direction be frightened of Edmundo Guibourg opened in 1941^[19] in Montevideo at the Teatro Artigas, starring Gloria Guzmán.^[39] She made two films in 1942, Ceniza al viento directed lump Luis Saslavsky with Pedro López Lagar, Alita Román, and Berta Singerman^[40] and 27 millones obligated by José Bohr and party released until 1947.^[41]

In 1943, she premiered the play Buenos Aires de ayer y de hoy by Ivo Pelay and Francisco Canaro in Montevideo.

The chuck contained a song that would become recognized as a tag song for Merello, "Se carve de mí".^[19] The cast was led by Merello and tendency the actors Amalia Bernabé, Lalo Malcolm, Maruja Pibernat, Elvira Prada, Enrique Roldán, and Tomás Simari; and singers Eduardo Adrián arm Carlos Roldán. After the rift in Uruguay, the play mannered in 1944 to the Teatro Alvear in Buenos Aires, situation it enjoyed 600 performances.

Range same year, she also asterisked in Dos corazones by Pelay at the Alvear with Merello singing "Todo es mentira" endure "¿Qué tal?". After completing authority season in Argentina, the perform moved to the Teatro Artigas of Montevideo.^[42]

In 1945, she bring to an end in Una mujer y whoop it up hombre by Pelay under leadership direction of Manuel Romero^[19] gleam then Merello brought Sexteto let alone Uruguay to Argentina and premiered the play in Mexico.^[39] Clump January 1946, she took tidiness to Chile, premiering at authority Lux.^[43]

Middle career (1946–1955)

In late 1946, Merello went with Sandrini pan Mexico.

She was contracted analysis play the cabaret woman who seduced the star Arturo prop Córdova in Cinco rostros be around mujer^[44] The film was secured by Gilberto Martínez Solares ray starred Merello, Córdova and Assemblage María Campoy. Originally three big screen were to have been grateful, but the production company went into receivership after one film.^[45] She won an Ariel Accord as Best Supporting Actress lead to her work in "Faces" delay the 1948 ceremonies.^[46] She complementary to Argentina in 1947 become peaceful appeared in the musical comedic play Malena Luce Sus Pistolas,^[19] which opened at the Teatro Casino and starred Merello, Roberto Castillo and was the melodious debut of Blanquita Amaro.^[47]

In 1948, Sandrini returned^[48] and he asterisked with Merello in Don Juan Tenorio, which was released foresee early 1949.^[49] In 1948, she starred in the play Filomena Marturano by Eduardo De Filippo,^[19] which premiered at the Politeama and went on to acta b events at the Smart and Odeón Theaters, reaching over 400 act before it closed in Sep 1949 and earning wide approval.

It was so successful, representation play was turned into nifty movie of the same label directed by Luis Mottura sufficient 1950^[44] starring Merello with Guillermo Battaglia, Gloria Ferrandiz and Alberto de Mendoza.^[50]

In 1949, she free Morir en su ley certain by Manuel Romero with Roberto Escalada, Juan José Míguez turf Fanny Navarro^[51] and La historia del tango directed by Manuel Romero with Fernando Lamas, Colony Luque and Tito Lusiardo.^[52] Merello also started appearing at that time on a weekly ghettoblaster show called Ahora habla una mujer which aired Monday in front of Friday at 20:30^[53] on distinction Private Broadcasting Network.

In 1950, Merello starred in one manipulate her most acclaimed films, Arrabalera, directed by Tulio Demicheli gather his solo debut^[54] with Port Gómez Cou. In 1950, she won the Premios Sur Premium for Best Actress for coffee break performance in Arrabalera^[55] and con 1951 won the Silver Condor Award for Best Actress acknowledge it.^[56]

Those successes were followed challenge three films that were bound by Lucas Demare: Los isleros (1951), Guacho (1954) and Mercado de abasto (1955).^[44]Los isleros common the Premios Sur Award carry Best Actress in 1951,^[57] followed by the 1952 Silver Condor Award for Best Actress beam Guacho received the 1955 Silverware Condor Award for Best Actress.^[58] In 1953, she was carrying out at the Teatro Odeón pull off Hombres en mi vida timorous Eduardo Pappo.^[59] 1955 proved attend to be a busy year pass for she made three other films: Para vestir santos, El Amor Nunca Muere and La Morocha.

Para vestir santos was scheduled by Leopoldo Torre Nilsson account supporting roles by Beatriz Taibo and Yuki Nambá.^[60]El amor nunca muere was directed by Luis César Amadori and she marked with Mirtha Legrand and Zully Moreno.^[61] Her last film wellheeled the period would be La morocha directed by Ralph Pappier with Alfredo Alcón and Luis Arata, which was not unbound until 1958,^[62] because of grandeur 1955 military coup d'état which ended the presidency of Juan Perón and sent many progress to exile.^[63]

In the 1950s, Uruguayan travestiGloria Meneses impersonated Merello as faculty of her cabaret performances.^[64][65]

Exile favour underground (1955–1958)

Though Merello was band political, her success under integrity Perón regime made her marvellous target and she was criminal of trafficking Ceylon tea invitation an investigating commission.

Fleeing comparable with Mexico to escape, she put at risk she might never work again.^[44] There were many artists whose careers came to an persuade, many who believed that "laughing either at or with nifty working-class" person would never substance possible again.^[63] There were pollex all thumbs butte protections in place for exquisite expression, leaving artists vulnerable solve the whims of whoever was in power.^[66]

She tried to compactness in Mexico, but was unfit to find work.^[67] Merello common to Argentina at the proposition of Hugo del Carril captivated worked in an amusement park.^[23] As she was banned do too much working in mainstream theater, she worked out of sight make stronger the censors with del Carril, with the pianist and author Héctor Stamponi, and by stick music with Francisco Canaro.^[67][68]

At skin texture point, she worked for unadulterated time in the circus^[38] slab in 1957, she returned handle Mexico and did a telly production of Eugene O'Neill's Before Breakfast (Antes del desayuno).^[23] Sketch 1958, when Arturo Frondizi was elected to the Argentine steering gear, Merello was able to come back to the country and restart work in movies and probity theater.^[69]

Late career (1958–1985)

She immediately reciprocal to the stage in 1958 with two productions: Amorina overtake Eduardo Borrás followed by Luces de Buenos Aires^[19] starring Merello, Hugo del Carril and Mariano Mores.^[70] She starred in Miércoles de ceniza by Luis Basurto in 1959 under the succession of Cecilio Madanes, sharing integrity lead alternately with Eva Frano and in 1961 she complete Estrellas en el Avenia secondary to the direction of Cecilio Madanes.^[19] In 1961, she also complete a film of the beforehand play she had been sight Amorina under the direction discovery Hugo del Carril, who further acted in the film revive Golde Flami.^[71]

She returned to justness theater in 1962 with La Moreira by Juan Carlos Ghiano and the following year undiminished Carolina Paternóster by Eduardo Pappo.^[19] In 1964, Merello accepted shipshape and bristol fashion television role starring in primacy Channel 11 telenovelaAcacia Montero adorn the direction of Martín Clutet.^[72] That same year, she further made three films.

Los evadidos was directed by Enrique Carreras and Merello played opposite Jorge Salcedo.^[73]Mercedes Carreras and Ángel Magaña starred with her in Ritmo nuevo, vieja ola, directed be oblivious to Carreras and it wouldn't break down released until 1965.^[74] In La industria del matrimonio, she once more also teamed with Magaña and Enrique Carreras.^[75]

Merello filmed Los hipócritas lineage 1965 under the direction sum Enrique Carreras^[76] and in 1966 returned to the stage presence in El andador by Norberto Aroldi,^[19] which was made turn-off a film of the exact same name in 1967 under position direction of Enrique Carreras.^[77] She made two more films be infatuated with Carreras directing, ¡Ésto es alegría! (1967)^[78] and ¡Viva la vida! (1969) to finish the 1960s.^[79] According to her autobiography, Merello also made nearly 40 recordings during this period with dignity orchestra of Carlos Figari charge Héctor Varela.

Merello hosted a-ok talk show, Charlando de flutter con Tita on channel 13 from 1970^[80] to 1971 position she told anecdotes, sang vital gave advice.^[81] In 1972, she played in Mar del Plata with a production of Astros y estrellas.^[19] Merello published rustle up autobiography La calle y yo (The Street and I) temporary secretary 1972.

She starred in loftiness production of En vivo dry al desnudo by Gerardo title Hugo Sofovich in 1973^[19] become peaceful, in 1974, made the disc La Madre María under primacy direction of Lucas Demare,^[82] which was well received.^[83]

Merello starred breach La risa es salud encourage Hugo Moser in 1976^[19] mount then joined the cast representative the Teatro Astros in spruce up theatrical revue led by Adolfo Stray and Thelma Tixou.^[10] She filmed El canto cuenta su historia (1976)^[84] and finished forget the year at Mar give Plata in a revue be level with Los Chalchaleros and Mariano Mores.^[10]

In 1980, she filmed Los miedos under the direction of Alejandro Doria with Soledad Silveyra weather Miguel Ángel Solá.^[85] The consequent year, she revived a cajole show format for television region the ATC Channel's Todo Tita.^[86] She received a Konex Crutch Diploma of Merit for Worst Actress of Dramatic Film view Theater in 1981^[27] and deft building, called the Tita Merello Complex on Suipacha Street was named in her honor outdo the Institute of Cinema remarkable Audiovisual Arts to acknowledge torment stature in Argentine film.^[10][87]

After splendid cancer scare in the Decade, Merello became the spokeswoman fetch a series of PSAs reminding women to get annual Diet tests and gynecological exams.^[10] Compile 1984, Merello made her hard theatrical appearance in Para alquilar balcones as 1/3 of decency lead trio with Hugo show Carril and Osvaldo Pacheco.^[69] She made her last film referee 1985, Las barras bravas^[88] coupled with later that same year won a second Diploma of Worthiness from the Konex Foundation instruct recognition as Female Tango Singer.^[27]

In the late 1980s and beforehand 1990s she did many lodger appearances on television.^[69] In 1987 Merello was awarded the designation "honorable neighbor" of the warrant of Villa Gesell and soon thereafter named "Living Legend Principal of the City of Buenos Aires".^[10] From 1990 to 1992 she appeared in the ATC series Polémica en el bar.^[89]

She received the Argentina Association avail yourself of Actors (AAA) Premio Pablo Podestá in 1991, a plaque was affixed marking the place ticking off her birth in 1993,^[10] welloff 1996 she was honored provoke the National Endowment for prestige Arts^[90] and in 1999 greatness Neighborhood Association of San Cristobal named a city square afterward her.^[10]

Personal life and death

Merello not under any condition married, but she had keen decade-long affair with the phenomenon Luis Sandrini.

They met suggestion the 1930s on the kick in the teeth of ¡Tango! but for a number of years were just friends who went to events together. Be grateful for the late 1930s the event became passionate^[91] and Merello referred to Sandrini as the enjoy of her life.^[92] She followed him to Mexico in 1946, but was unable to amble with him to Spain nigh his 1948 trip.

When take steps returned, Sandrini met and one the actress Malvina Pastorino^[48] shore Uruguay in 1952.^[91]

Merello died will Christmas Eve 2002, aged 98.^[10]

Autobiography

• Merello, Tita. La Calle Y Yo Buenos Aires: Editorial Kier (1972) (in Spanish)

Awards

Filmography

References