Azucena Maizani

Azucena Maizani was born in Buenos Aires on 17 November 1902.^[1][2] At about age five she moved with relatives to the island of Martín García in the Río de la Plata, later returning to the capital where she worked as a dressmaker and sang tangos as an amateur.^[1][2] One night around 1920 she approached Francisco Canaro at the Boite Pigalle and convinced him to let her sing two numbers; Canaro later recalled her as a “morocha de espléndida juventud” and presented her as Azabache without knowing her name.^[1][2] After appearing as a chorus member in the company of the Ratti brothers at the Teatro Apolo, she was introduced by pianist Enrique Delfino to the owner of the Teatro Nacional.^[1]

Her professional debut took place on 27 July 1923 (some accounts give 23 July) at the Teatro Nacional in Alberto Vacarezza’s sketch “A mí no me hablen de penas,” in which she sang the tango “Padre nuestro” (composed for her by Delfino and Vacarezza) accompanied by Salvador Merino’s orchestra; the audience demanded five encores.^[1][2][4] This success led to radio appearances, further theatrical work, and recordings. Between 1923 and 1926 she recorded with Canaro’s orchestra; later sessions involved Enrique Delfino and Manuel Parada for Odeon, and from 1929–1931 the group of Roberto Zerrillo, Orestes Cúfaro, and Parada for Brunswick.^[1][2] She performed for years in masculine suits or criollo gaucho clothing, an image that earned her the nickname “La Ñata Gaucha” from her friend Libertad Lamarque; “Azabache” was the stage name Canaro had used.^[1][2][5]

In 1928 she married Juan Scarpino; they had a child who died soon after birth and the marriage ended.^[1][2] In 1929 she formed both a personal and artistic partnership with violinist Roberto Zerrillo; together they toured the Argentine interior and then spent about two years in Spain and Portugal, returning in 1932.^[1][2] Upon her return she found that other singers—Libertad Lamarque, Mercedes Simone, Ada Falcón, and Tita Merello—had occupied the space she had left.^[1] She regained prominence by joining the cast of the first Argentine sound film, ¡Tango! (1933), in which her voice was heard singing “La canción de Buenos Aires” over the credits and she performed “Milonga del novecientos” and “Botines viejos” with Juan de Dios Filiberto’s orchestra.^[1][2][6] Subsequent films included Monte criollo (1935) and Nativa; in 1938 she toured the United States and filmed Di que me quieres in New York with musical direction by Terig Tucci.^[1][2]

Maizani composed relatively few works but several became standards. Her best-known tango is “Pero yo sé” (1928), recorded by many artists including Ángel Vargas with Ángel D’Agostino’s orchestra.^[1][2] “La canción de Buenos Aires,” written with Orestes Cúfaro and Manuel Romero, was recorded by Carlos Gardel, whom she had known since 1923 and who called her the maximum interpreter of their songs.^[1][2][3] Other pieces include the waltz “Pensando en ti” (lyrics by Celedonio Flores) and the ranchera “Decí que sí” (with Cúfaro and Alberto Pidemunt).^[1][2] She left more than 270 recordings in total.^[1][2]

A further romantic and financial setback occurred in 1936 when a partner and representative committed suicide after being exposed for defrauding her; she briefly withdrew but returned to a warm public reception.^[1] By the 1940s her presence diminished; she continued occasional recordings and appearances, yet her name belonged increasingly to the past.^[1] She suffered a hemiplegia in 1966 and died almost forgotten in Buenos Aires on 15 January 1970.^[1][2] Maizani is regarded as a pioneer who, with Rosita Quiroga, opened the way for the lasting participation of women as lead singers in tango.^[1][2]

Early career and breakthrough

After amateur appearances and the Pigalle encounter with Canaro, Maizani’s 1923 Teatro Nacional debut with “Padre nuestro” produced an immediate ovation and five encores.^[1][2][4] She quickly moved into radio, disc, and further theatrical roles.^[1]

Style, image, and compositions

She sang with the high-pitched, somewhat kitsch manner of the era yet remained distinguishable by her emotional intensity and repertoire of neighborhood themes.^[1] Her stage attire of male suits or gaucho dress produced the nicknames Azabache and La Ñata Gaucha.^[1][2][5] Key compositions include “Pero yo sé” and “La canción de Buenos Aires.”^[1][2]

Film, tours, and later years

She appeared in ¡Tango! (1933) and later films, toured Spain, Portugal, and the United States, and filmed in New York.^[1][2] A 1936 personal crisis was followed by gradual decline; she died in 1970 after a 1966 stroke.^[1][2]