aughter of operatic artists, she was one of the first actresses and dancers who also sang, at the beginning of the twentieth century, either at merry or serious theaters, like the Teatro Apolo.

She had a soprano range and recorded for the Victor label. For this reason and her acceptable capabilities, she joined, among others, the companies led by Florencio Parravicini, the Podestá brothers and the one fronted by Guillermo Bataglia.

Furthermore, she was one of the pioneers, maybe the first one, in dancing tango on a stage. Hugo Lamas and Enrique Binda in their meticulous work El tango en la sociedad porteña (1880-1920) single out the fact that in the play Fumadas, staged at the Teatro Apolo in 1902: «Lea Conti and Pablo Podestá danced a tango which made the audience burst into applause with an obvious encore». This scene was mentioned by the critics in some journals of that time.

She was the wife of the actor and music composer Antonio Domingo Podestá.

Time later, she had secondary roles in many movies: El cielo en las manos, with music by Astor Piazzolla and Edmundo Rivero on vocals; La rubia Mireya; El alma en un tango, Payaso, with Luis Sandrini, and others.

Once, when appearing at the Teatro Nacional, in one of its traditional musicals, Atilio Supparo, author of the lyrics of the tango “Pa' qué más”, asked her to sing it. He wanted that because Carlos Gardel was to attend the play and its author was interested that the singer would hear it. So it happened and later it was committed to record in 1926 by Gardel accompanied by José Ricardo and Guillermo Barbieri on guitars. A tango recorded by Gardel meant success and was profitable for its authors.