La madre maria tita merello biography

Tita Merello

Argentine actress and singer (1904–2002)

Tita Merello

Born

Laura Ana Merello


(1904-10-11)11 October 1904

Buenos Aires, Argentina

Died24 Dec 2002(2002-12-24) (aged 98)

San Telmo, Buenos Aires, Argentina

Resting placeLa Chacarita Cemetery
Occupations
Years active1930–1985

Laura Accumulation "Tita" Merello (11 October 1904 – 24 December 2002) was an Argentine film actress, tango dancer and singer of picture Golden Age of Argentine theater. In her six decades funny story Argentine entertainment, at the at an earlier time of her death, she abstruse filmed over thirty movies, premiered twenty plays, had nine crowding appearances, completed three radio broadcast and had had countless rite in print media. She was one of the singers who emerged in the 1920s in advance with Azucena Maizani, Libertad Lamarque, Ada Falcón, and Rosita Quiroga, who created the female voices of tango. She was first of all remembered for the songs "Se dice de mí" and "La milonga y yo".

She began her acting career in performing arts and may have made tacit films. She debuted on influence first sound movie produced in vogue Argentina, ¡Tango!, with Libertad Lamarque in 1933. After making systematic series of films throughout illustriousness 1930s, she established herself whilst a dramatic actress in Coldness 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 deal with Ariel Award from the Mexican Academy of Film. She correlative to Argentina and starred featureless Don Juan Tenorio (1949) duct Filomena Marturano (1950), which were subsequently taken to the the stage. Her period of greatest favour came in the following period, when she led films identical Los isleros (1951), considered pretty up best performance, Guacho (1954) champion Mercado de abasto (1955). She also received praise for other work in Arrabalera (1950), Para vestir santos (1955) and El amor nunca muere (1955).[1]

From grandeur 1960s, most of her exert yourself was directed by Enrique Carreras. During the period, she difficult a recurring role in authority television series Sábados Circulares essential continued making films, like Amorina (1961). Her role in 1974 as La Madre María, scheduled by Lucas Demare, was enthusiastically acclaimed as was her approtionment with Alejandro Doria in Los miedos (1980). She retired pass up theater in 1984 and big screen in 1985 but continued persist act on TV and crystal set and was honored as "Citizen of the City of Buenos Aires" in 1990. Until cobble together death at age 98, she continued to make appearances potential attainable television and radio.[2]

Biography

Early years

Laura Assemblage Merello,[3] known as "Tita" was born on 11 October 1904 in a tenement in prestige neighborhood of San Telmo, Buenos Aires to the coachman Metropolis Merello and an ironer, Accumulation Gianelli.[4] The house where she was born has been included as a historical site.[5] An added birth certificate did not put across her mother's name, but considering that she was four, her mother's name was recorded with influence mother's nationality of Uruguayan.[6] She had a younger half-brother, Pascual Anselmi, who had a fluctuating father.[7]

Her father died of t.b. when she was less pat a year old.[7][8] Merello abstruse a difficult childhood marked by virtue of poverty. She was sent suggest an orphan asylum at quote five because her mother confidential to work. While still dexterous child, she was taken end Montevideo, Uruguay, where she false as a maid without pay.[7] At age 9, she was diagnosed with tuberculosis and spiral to a farm near River, where she worked in in trade for room and board,[9] ransom cows, cutting yerba mate become calm grilling food for the teachers. She said she knew emptiness and fear firsthand, as she lived it every day conduct operations her childhood, never going lodging school or learning to get or write.[7] As an of age, she said of her schooldays that it was brief, "Poor childhood is shorter than avoid of the rich. It was sad, poor and ugly".[6]

At length of existence 12, she returned to rectitude tenement to live with recede mother[9] She went to stick in a seedy club styled Ba Ta Clán, where loftiness chorus girls became known renovation bataclanas.[6][10] The place had fastidious reputation and women who touched there were thought to flaw employed somewhere between the "lunfardo" (the Argentine underworld) and spiffy tidy up bordello.[9] Around 1917, Merello began working as a showgirl impede the Rosita Rodriguez Company cram Teatro Avenida and debuted beginning a play called Las vírgenes de teres. She was booed off the stage and vowed never to sing again, nevertheless hunger forced her to skim for work in the cafés along the Avenida de Mayonnaise.

She soon earned popularity junk her interpretation of the tango "Titina".[3] She met the rewrite man of the newspaper, La Nacion, Eduardo Borrás when she was fifteen, who began helping cast-off learn to read.[7] He succeeding introduced her to Simón Yrigoyen Iriondo, who took charge marketplace ending her illiteracy.[11] Around 1919, she was performing at character Teatro Porteño in the harmony line and was fined 20 pesos because she wasn't taxing nylons. Years later, in rank 1930s, Morello commented how weird and wonderful had changed and women were being paid to go out them.[12]

Some sources have claimed desert Merello filmed silent movies epoxy resin this period;[13] others claim ramble "a" movie happened a declination later in 1928;[14] and wearisome claim her first film was not until ¡Tango! in 1933.[15][16] Some claim there were triad films, Buenos Aires tenebroso (1918), a crime drama; La garra porteña; (1918), and Amor refrain from primavera (1918–1919) both directed induce Juan Glizé and Vicente Marracino.[13] Multiple sources claim she enthusiastic Buenos Aires tenebroso directed fail to notice Juan Glizé[14][17][18] but the crop varies from 1917[19] to 1928.[14]

Tragedy befell her again at ethics age of 16, when contain mother succumbed to tuberculosis reprove she began wandering from platform to house, family to group and back again.[3] She became a vedette and was important as "La Vedette Rea",[6] on the contrary her repertoire and fiery in a funk gave her a reputation divagate was counter to other delegate, like Sofía Bozán.[9] Her version often incorporated deliberate farce figure up express the complexities of life.[20] and while she was crowd together known for having a tolerable voice, she gained admiration resolution the expressiveness of her interpretations, which was well suited gather the drama of tango.[3]

Legitimate fleeting and recording beginnings (1923–1933)

In 1923, she got a part whereas a show girl in leadership revue Las modernas Scherezadas activity at the renowned Teatro Maipo, performing with the stars Luis Arata, Pepe Arias, and Marcos Caplán.[3][11] The show's playbills radio show dated 1924 and list shepherd as the star "La sentry 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 spectacular Mujeres, flores y alegría,[23] entail which she sang the tango "Pedime lo que Querés" vulgar Francisco Canaro with lyrics uncongenial Juan Andrés Caruso. Later defer year she premiered the tango "Leguisamo Solo" by Modesto Papavero, which had been written monkey homage to Uruguayan jockey Irineo Leguisamo.[24] The tango appeared wear the revue En la raya lo esperamos by Luis Bayón Herrera at the Teatro Bataclán.[25]

She finally was asked to arena a role in a histrionic play, El Lazo; her help out earned her an introduction command somebody to Pascual Carcavallo, owner of rank Teatro Nacional. In 1927, she returned to the Maipo performing arts to perform the tango "Un tropezón" with Elías Alippi famous Sofia Bozán.[25] The performance was criticized harshly by Carlos Gardel, considered the greatest tango actor at the time.[3]

Merello alternated close with a few forays demeanour recording. In 1927, she prerecorded 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 common theatrical style.[3] Between 1929 stomach 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 honesty first article she published. Of great magnitude addition, she wrote pieces irritated the publisher Abril's Revista Nocturno (Night Magazine) and obtained unornamented journalist's press card.[28]

A big post presented itself in 1931. Libertad Lamarque had been playing depiction role of Doce Pesos get round "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 potential to Merello, who quickly push. The following year, in 1932, as part of the Compañia de Canaro she worked cut the play "La muchachada draw centro" and performed the tangos "La muchachada del centro" nearby a milonga "Me enamore una vez" in the play. Indictment was very successful, running look after nearly 900 performances.[15]

Early film occupation (1933–1945)

She made her debut accent talking films in Argentina's leading sound film, ¡Tango! (1933), fated by Luis José Moglia Theologist, for which she received Cardinal pesos.[30] The stars of loftiness film were Pepe Arias become peaceful Libertad Lamarque. She would along with meet a young comic assume the film, Luis Sandrini, who had a small part tension the film.[31] She followed extinct with Ídolos de la radio (1934) a production by Francisco Canaro directed by Eduardo Morera and written by Nicolás sustain las Llanderas and Arnaldo Malfatti. The musical starred many refer to Argentina's radio stars. The crust was successful and led happening the creation of both broadcast magazines and a new classification of film.[32]

In 1935, she marked in Noches de Buenos Aires directed by Manuel Romero suitable Fernando Ochóa, Severo Fernández beginning Irma Córdoba.[33]

In Así es repulse tango (1937), directed by Eduardo Morera with Olinda Bozán,[34] Merello played a comic role en face the heroine's role assigned acquiescence Luisa Vehil.[35] That same origin she followed in a graphic role in the film, La fuga[6] under the direction have possession of Luis Saslavsky which featured glory tango "Niebla del Riachuelo" round off by Merello and written from end to end of Enrique Cadícamo.[36] The movie marked Santiago Arrieta and Francisco Petrone and earned praise from glory critics.[37] Following the trend, she began a theatrical run imprison Montevideo, Uruguay in the marker Santa María del Buen Ayre written by Enrique Larreta, which was one of her principal acclaimed theatrical roles.[27][38]

Merello was encompass the play Sexteto by Ladislao Fodor, under the direction flaxen 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 infant Luis Saslavsky with Pedro López Lagar, Alita Román, and Berta Singerman[40] and 27 millones compelled by José Bohr and wail 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 come to pass contained a song that would become recognized as a level song for Merello, "Se lacerate de mí".[19] The cast was led by Merello and makebelieve the actors Amalia Bernabé, Lalo Malcolm, Maruja Pibernat, Elvira Prada, Enrique Roldán, and Tomás Simari; and singers Eduardo Adrián instruct Carlos Roldán. After the rent in Uruguay, the play la-de-da in 1944 to the Teatro Alvear in Buenos Aires, vicinity it enjoyed 600 performances. Think it over same year, she also asterisked in Dos corazones by Pelay at the Alvear with Merello singing "Todo es mentira" obtain "¿Qué tal?". After completing dignity season in Argentina, the manipulate moved to the Teatro Artigas of Montevideo.[42]

In 1945, she exemplary in Una mujer y examine hombre by Pelay under authority direction of Manuel Romero[19] gleam then Merello brought Sexteto superior Uruguay to Argentina and premiered the play in Mexico.[39] Induce January 1946, she took restraint to Chile, premiering at justness Lux.[43]

Middle career (1946–1955)

In late 1946, Merello went with Sandrini tenor Mexico. She was contracted bring out play the cabaret woman who seduced the star Arturo point Córdova in Cinco rostros regulate mujer[44] The film was sure by Gilberto Martínez Solares be first starred Merello, Córdova and Collection María Campoy. Originally three flicks were to have been ended, but the production company went into receivership after one film.[45] She won an Ariel Premium as Best Supporting Actress preventable her work in "Faces" move the 1948 ceremonies.[46] She reciprocal to Argentina in 1947 gain 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 lyrical debut of Blanquita Amaro.[47]

In 1948, Sandrini returned[48] and he marked with Merello in Don Juan Tenorio, which was released pledge 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 manoeuvre at the Smart and Odeón Theaters, reaching over 400 transaction before it closed in Sept 1949 and earning wide praise. It was so successful, influence play was turned into deft movie of the same nickname directed by Luis Mottura barred enclosure 1950[44] starring Merello with Guillermo Battaglia, Gloria Ferrandiz and Alberto de Mendoza.[50]

In 1949, she free Morir en su ley determined by Manuel Romero with Roberto Escalada, Juan José Míguez sports ground 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 ghetto-blaster show called Ahora habla una mujer which aired Monday ought to Friday at 20:30[53] on rendering Private Broadcasting Network.

In 1950, Merello starred in one leverage her most acclaimed films, Arrabalera, directed by Tulio Demicheli give back his solo debut[54] with Metropolis Gómez Cou. In 1950, she won the Premios Sur Bestow for Best Actress for make public performance in Arrabalera[55] and beginning 1951 won the Silver Condor Award for Best Actress mention it.[56]

Those successes were followed farce three films that were obliged by Lucas Demare: Los isleros (1951), Guacho (1954) and Mercado de abasto (1955).[44]Los isleros stodgy the Premios Sur Award be a symbol of Best Actress in 1951,[57] followed by the 1952 Silver Condor Award for Best Actress gleam Guacho received the 1955 Flatware Condor Award for Best Actress.[58] In 1953, she was playing at the Teatro Odeón calculate Hombres en mi vida spawn Eduardo Pappo.[59] 1955 proved accomplish be a busy year bit she made three other films: Para vestir santos, El Amor Nunca Muere and La Morocha. Para vestir santos was determined by Leopoldo Torre Nilsson adhere to 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 confine the period would be La morocha directed by Ralph Pappier with Alfredo Alcón and Luis Arata, which was not unconfined until 1958,[62] because of primacy 1955 military coup d'état which ended the presidency of Juan Perón and sent many overcrowding exile.[63]

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

Exile champion underground (1955–1958)

Though Merello was gather together political, her success under leadership Perón regime made her unornamented target and she was wrongdoer of trafficking Ceylon tea next to an investigating commission. Fleeing occasion Mexico to escape, she solution she might never work again.[44] There were many artists whose careers came to an purpose, many who believed that "laughing either at or with uncomplicated working-class" person would never fix possible again.[63] There were maladroit thumbs down d protections in place for elegant expression, leaving artists vulnerable without delay the whims of whoever was in power.[66]

She tried to common in Mexico, but was unqualified to find work.[67] Merello requited to Argentina at the offer of Hugo del Carril take worked in an amusement park.[23] As she was banned dismiss working in mainstream theater, she worked out of sight exert a pull on the censors with del Carril, with the pianist and founder Héctor Stamponi, and by gramophone record music with Francisco Canaro.[67][68]

At distinct point, she worked for wonderful time in the circus[38] boss in 1957, she returned instantaneously Mexico and did a production of Eugene O'Neill's Before Breakfast (Antes del desayuno).[23] Show 1958, when Arturo Frondizi was elected to the Argentine steering gear, Merello was able to turn back to the country and recur work in movies and depiction theater.[69]

Late career (1958–1985)

She immediately reciprocal to the stage in 1958 with two productions: Amorina get ahead of 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 give directions of Cecilio Madanes, sharing rendering lead alternately with Eva Frano and in 1961 she finished Estrellas en el Avenia botched job the direction of Cecilio Madanes.[19] In 1961, she also obliged a film of the earliest play she had been greet Amorina under the direction close Hugo del Carril, who additionally acted in the film converge Golde Flami.[71]

She returned to influence theater in 1962 with La Moreira by Juan Carlos Ghiano and the following year finalize Carolina Paternóster by Eduardo Pappo.[19] In 1964, Merello accepted top-notch television role starring in decency Channel 11 telenovelaAcacia Montero out of the sun the direction of Martín Clutet.[72] That same year, she as well 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 hard Carreras and it wouldn't examine released until 1965.[74] In La industria del matrimonio, she go back over the same ground teamed with Magaña and Enrique Carreras.[75]

Merello filmed Los hipócritas interior 1965 under the direction arrive at Enrique Carreras[76] and in 1966 returned to the stage showing up in El andador by Norberto Aroldi,[19] which was made befit a film of the selfsame name in 1967 under honesty direction of Enrique Carreras.[77] She made two more films mount 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 rectitude orchestra of Carlos Figari deliver Héctor Varela.

Merello hosted put in order talk show, Charlando de hoohah con Tita on channel 13 from 1970[80] to 1971 swing she told anecdotes, sang person in charge gave advice.[81] In 1972, she played in Mar del Plata with a production of Astros y estrellas.[19] Merello published barren autobiography La calle y yo (The Street and I) pen 1972.

She starred in illustriousness production of En vivo contorted al desnudo by Gerardo nearby Hugo Sofovich in 1973[19] brook, in 1974, made the membrane La Madre María under rank direction of Lucas Demare,[82] which was well received.[83]

Merello starred trudge La risa es salud manage without Hugo Moser in 1976[19] cranium then joined the cast be the owner of the Teatro Astros in adroit theatrical revue led by Adolfo Stray and Thelma Tixou.[10] She filmed El canto cuenta su historia (1976)[84] and finished handle the year at Mar depict Plata in a revue go through Los Chalchaleros and Mariano Mores.[10]

In 1980, she filmed Los miedos under the direction of Alejandro Doria with Soledad Silveyra gift Miguel Ángel Solá.[85] The people year, she revived a flattery show format for television sign up the ATC Channel's Todo Tita.[86] She received a Konex Bring about Diploma of Merit for Unexcelled Actress of Dramatic Film suffer Theater in 1981[27] and clean up building, called the Tita Merello Complex on Suipacha Street was named in her honor get ahead of the Institute of Cinema arm Audiovisual Arts to acknowledge attend stature in Argentine film.[10][87]

After dinky cancer scare in the Decade, Merello became the spokeswoman recognize the value of a series of PSAs reminding women to get annual Garbage tests and gynecological exams.[10] Think it over 1984, Merello made her newest theatrical appearance in Para alquilar balcones as 1/3 of justness lead trio with Hugo illustrate Carril and Osvaldo Pacheco.[69] She made her last film make a way into 1985, Las barras bravas[88] spreadsheet later that same year won a second Diploma of Honour from the Konex Foundation be thankful for recognition as Female Tango Singer.[27]

In the late 1980s and prematurely 1990s she did many visitor appearances on television.[69] In 1987 Merello was awarded the phone up "honorable neighbor" of the hold out of Villa Gesell and anon thereafter named "Living Legend Fundamental 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 female Actors (AAA) Premio Pablo Podestá in 1991, a plaque was affixed marking the place comment her birth in 1993,[10] suspend 1996 she was honored unresponsive to the National Endowment for blue blood the gentry Arts[90] and in 1999 leadership Neighborhood Association of San Cristobal named a city square stern her.[10]

Personal life and death

Merello not in any degree married, but she had efficient decade-long affair with the affair Luis Sandrini. They met false the 1930s on the on standby of ¡Tango! but for not too years were just friends who went to events together. Access the late 1930s the business became passionate[91] and Merello referred to Sandrini as the fondness of her life.[92] She followed him to Mexico in 1946, but was unable to slot in with him to Spain not later than his 1948 trip. When stylishness returned, Sandrini met and ringed the actress Malvina Pastorino[48] rope in Uruguay in 1952.[91]

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

Autobiography

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

Awards

Filmography

References

  1. ^Tita Merello at IMDb
  2. ^Tita Merello at IMDb
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  13. ^ abOliveri, Marcelo H. (7 October 2008). "Las películas de tango section nunca se estrenaron (Período mudo y sonoro)" (in Spanish). Rafaela, Argentina: La Opinion. Retrieved 24 June 2015.
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  44. ^ abcdCalzon Flores, Florencia (January–June 2013). "El sistema de estrellas stable Argentina durante los cuarenta askew cincuenta: el caso de Tita Merello"(PDF). Revista Montajes (in Spanish) (2). Publicación Semestral del Seminario Universitario de Análisis Cinematográfico: 53–73.
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