f something of this young female singer pleases me is her style because she has a respect for the classic way of interpreting tango, naturally, without effects, conveying also a feeling that turns out spontaneous and credible when expressing the lyrics.

At these times when there are a great number of women singing tango, she is a rare bird that cannot be pigeonholed with the standards in vogue after the 60s. On the other hand, she can be located in a place near the great female singers of previous times.

She possesses a beautiful voice timbre, has good taste and does not fall into the temptation of using strident resources. She has been studying singing since her teen years and that is also noticeable in her phrasing and her intonation.

Furthermore, the choice of her repertory is worth mentioning —original in comparison with others’—, which rescues beautiful pages of the genre, inexplicably forgotten.

Born in the locality of San Martín (province of Buenos Aires), she definitively entered the tango field in 1995 after other experiences in different genres which includes a stage in the artistic underground of Buenos Aires.

On one occasion she confessed, in an interview for the Radar supplement of the Página 12 daily paper, that Luis Cardei greatly influenced her in her way of regarding tango: «I began to assemble a tango songbook but I realized that my approach was still superficial. Because on one side you have to pay attention to the technical aspect, to the things you can sing, but also you have to aim at a personal search. So when I met Cardei who sang in a totally different way to what I knew about tango: instead of shouting like the guys who sang tango in cheap restaurants –kind of bullies facing an orchestra–, Luis had a small little voice and a high endurance sensitivity».

In that interview published in November 2003, she recalled that after this discovery she began to further her knowledge of tango, to listen to early singers and read the whole history of the genre which –according to her own words– was telling her her own story. «For me tango is deeper and simpler than what sometimes is shown: an introspective thing, with a more profound connection with ourselves, with the environment and even the geography. Of course, for many ones it’s easier putting on a tuxedo or a dress with an open hip edge and step onstage to sing».

She made her debut accompanied by his brother, the guitarist Luis Borda and Héctor Del Curto on bandoneon. Also that year, she appeared at the Foro Gandhi, alongside Luis Cardei and the quartet led by Luis Borda. Her first trip abroad was with the show Glorias Porteñas along with Brian Chambouleyron, replacing Soledad Villamil.

As from the 90s she began a series of tours of Europe along with her brother. She sang at the Grec Festivals in Barcelona, at the Festival de Outono and at the Extremos do Mundo in Portugal; at the Cité de la Musique and at the Chaillot in France; at the Roma-Europa in Italy; at the Lenguaje e Identidad encounter organized by the Goethe Institute in Munich and at the Filarmónicos en Fiebre de Tango in Dresden, Germany; at the Bergen Festival in Norway; also in Peru, among other appearances. She also appeared at the editions of the Festival Internacional de Tango in Buenos Aires.

In 2002 she was honored by appearing as singer representing Latin America at the opening ceremony of the Library of Alexandria in Egypt. In 2005 she was awarded the Konex prize Diploma al Mérito in the category of Female Tango Singer.

Her first compact disc, “Entre sueños”, was released in 1996 by the La Placita label. The backing accompaniment was arranged and conducted by his brother Luis. The variety of the chosen repertoire with tangos seldom aired like “Fanfarrón” and “Las vueltas de la vida”, milongas and rancheras is noteworthy.

Later releases would come: Patio de Tango, in 1999, with the collaboration of the singer and guitarist Brian Chambouleyron and the musical direction of Esteban Morgado for the EPSA label; Será una Noche, la Segunda, for the AM label, with percussion and wind instruments and the bandoneonist Gabriel Rivano. It includes an original and exotic version of “Gricel” in which Martín Iannaccone’s cello stands out.

Her disc, Tal Vez Será Su Voz, was recorded in 2002 also for EPSA. Here she is accompanied by El Arranque Orchestra and the producer was Ignacio Varchausky. It contains two excellent renditions of the waltzes “Paisaje” and “Tu pálida voz”, among other numbers of the forties.