he is the elder sister of the singer Walter Cabral. Music and singing were from long at home because of their father, Martín Cabral, also singer, guitar strummer and composer, known by his sobriquet Cruz Lucero.

As a child, she accompanied don Martín who raised her in his own way, making her tour the towns of the province in which he appeared and making her sing too. Her debut was at age eight. The tours went on when she was a teenager and she had not much time to stay at the same place.

They walked along the streets of our city and switched from one radio station to another and appeared at movie theaters and theaters in different neighborhoods. She also appeared at some plays staged by the theater company led by the brothers Arturo and Antonio De Bassi, composers of many tangos. That took place in the same venue where later the Teatro Comedia (Paraná 426), then called Fémina, was located.

It is worth mentioning, now in a more tango-like style, her appearance at the Teatro Argentino, where she was backed up by a group led by Carlos Di Sarli. This time the enterprise suggested her to join, as main star, a company that would make a tour throughout the provinces. The tour lasted several months.

She is regarded as one of the main female singers of the early 1930’s. So much so that her figure is used to advertise products in magazines of the period.

When she came back in 1934, she did not stop and worked on three radio stations: Radio Argentina, Radio Belgrano and Radio Prieto; almost at the same time. Another company required her for the stage of the Sena movie theater, on San Martín Avenue.

In 1937 she appeared backed by Héctor Varela (bandoneon) and Enrique Camerano (violin). She teamed up with her brother Walter as a duo. And after so much work a time of rest came. But it was a painful rest because she had a car accident and needed six months to recover.

In 1938 she returned as soloist with a renewed impulse: several months on tour throughout the southern area of our country up to the farthest boundaries. Later she was focused on the Cuyo region and Chile and thereafter, Peru and Bolivia.

When she stopped to recover her breath in her country she appeared at some venue or on radio. And she went to Colombia, Cuba and Puerto Rico. Now with her own company, she was the author of the scripts. She even shared the bill with Palito Ortega.

She succeeded in recording only in 1929, when for the Electra label she recorded her father’s milonga “Cuando la milonga canta”. In her songbook there were other songs that belonged to Don Martín.

There were a good number of air takes of her appearances on radio abroad that she surely owned. One of them is “Adiós pampa mía”. Here we can listen to an excellent performer, with good intonation, with strength, with the necessary feeling to avoid melodramatic downfalls. It is a pity we cannot find others of her pieces.

She wrote some lyrics like the ones of the milonga “El oficio de cantor”, (music by Osvaldo Avena), the “Zamba de Ajó” (with music by Félix Palacios), the tango “Pena y huella”, with music by her father. Lyrics and music of her own: “La polquita del vaivén”, “Es tiempo de amar” and “Luna de mis recuerdos”.