wner of a voice with good intonation which was envied by many, privileged by nature in her female gifts and possessing the artistry that made her stand out either in theater stages, as in the movies or the radio, Carmen del Moral was an unforgettable figure in the 40s and the 50s.

Her permanent contact with tango places her among the most successful women of that period. Because of all that she has today reached a well deserved place among The Artists in our page.

Four children were born out of the married couple made by Nicolás de los Santos and Juana Invernizzi: Nélida, Isabel, Margarita and Alberto. The family moved from Palermo to Floresta where the young girl Nélida attended grammar school and also her singing studies with the teacher Bolognesse.

When she was only 16 years old and she already used her artistic name Carmen Del Moral, she made her professional debut on Radio El Mundo (1936) at the program sponsored by Himalaya at noon. She stayed four years at that broadcasting and later she was admitted in Radio Splendid alternatively continuing on both radios.

Her remarkable beauty, and her vocal gifts were soon recognized by people in the film industry and, in 1939, she made her debut in the big screen.

She appeared in the movie Muchachos que Estudian, whose cast was Enrique Serrano, Sofía Bozán, Delia Garcés, Pepita Serrador, Alicia Vignoli and Alicia Barrie under the direction of the famous Manuel Romero. On that film, she was accompanied by the Francisco Canaro orchestra, and sang the tangos "Como las aves" and "Tango amigo"

In 1940 she continued recording and working in motion pictures. She recorded for RCA-Victor the numbers "Esta noche", "El vals del ayer" , "Qué es lo que puedo esperar", "Isabelita" and "Mentira (B)".

Her work in the movies went on that year with Los Muchachos se Divierten with Enrique Serrano, Charlo, Sofía Bozán, Sabina Olmos, Marcelo Ruggero and others. On this film she sings "Necesito olvidar" and "Cuando no quedan esperanzas" duetting with Charlo.

That same year she is starred in Isabelita with Paulina Singerman, Sofía Bozán, Juan Carlos Thorry and Tito Lusiardo, there she sings "Qué es lo que puedo esperar" and "Isabelita".

In 1940, a year quite fruitful for her work in the cinema, her fourth movie Luna de Miel en Río is released, its cast includes Niní Marshall, Tito Lusiardo, Enrique Serrano and Juan Carlos Thorry; she sings the polka "El criticón" duetting with Thorry.

In 1942 she appears in Elvira Fernández Vendedora de Tienda, again with Paulina, Thorry, Lusiardo, Bozán and Elena Lucena, directed by Manuel Romero.

She goes on singing on movies, in 1943 she appears in La Calle Corrientes where she interprets a tango as the title song. She is also starred in El Fabricante de Estrellas singing the number "Mi piba".

After a period of 20 years she re-appeared in La Calesita (1963) singing "La morocha".

She was not alien to the theater sceneries as part of casts in the revues directed by Antonio De Bassi, with José Ramírez, Antonio Pratt and Roberto García Ramos whom she married.

Alternating her labor in theater and cinema she plays at the Tabaris in the theater company led by Carlos A. Petit; at the Maipo and at Goyescas. She made tours of Uruguay, Chile, Peru and Brazil .

In Chile, besides her work in theater, she recorded for RCA-Victor accompanied by Porfirio Díaz and Alfredo Manuele.

In Uruguay she appeared on radio Carve and on El Espectador and at the Teatro Artigas. As well at the Teatro 18 de Julio she appeared (1947) with the speaker and comic actor Juan Carlos Mareco, (Pinocho).

She also sang with Romeo Gavioli with whom she recorded the waltz "Tal vez sí, tal vez no" for the Sondor label.

Due to the prestige she achieved in the Argentine stages and in nearly all South America it was