er performing career is not different from most female tango singers. But the difference in her case was her early demise in full bloom, only comparable to Susy Leiva’s in a car crash.

Music and singing were a common thing at home. His father, Ado Falasca, was a tailor and popular singer. He performed in duos and later he led his own group.

When Chany —as Rosanna was then called— was ten, her dad realized that she sang nicely, that her voice was different to those girls with a piercing sharp treble voice, and that she achieved it naturally. Soon he made her join his music outfit and the weekend tours throughout the neighboring towns. Later as well they appeared on radio and television channels in the provinces of Córdoba and Santa Fe.

Everything went quickly. Popular numbers, some of them in Italian, made up her songbook. They performed in the city of Rafaela, province of de Santa Fe, where a producer heard her and invited them to Buenos Aires

Three months later they arrived in the Capital in March 1969. Almost immediately she was invited to appear at a café-concert in the neighborhood of San Telmo. In August, her father filled her application for a contest for new voices organized by the popular program in Channel 9, Grandes valores del tango, then conducted by Juan Carlos Thorry.

Her slender, tall figure, a blonde with straight hair, light-colored eyes and a lovely face attracted people’s attention. She only knew a couple of tangos, one was “Madreselva” which she performed at the three-contestant-first-round. She turned out the winner at that stage, but it was only the beginning of the contest. However her presence impressed the audience and the organizers. They talked to her father and suggested him to take her out of the contest to present her as one of the figures of the program, with a contract for four years.

Since then everything happened so fast. The following year she recorded her first LP when she was only seventeen. The tours started, firstly throughout Uruguay, later of nearly all the Central America countries.

The movie business also took advantage of her success, but not with the characteristics of the thirties and the forties when tango was showcased and everything was around a tango lyric. Her presence was required to appear alongside television faces, with pop musicians and rock players, and her role was to sing a tune with tango flavor.

Even though she was not born a tango singer —she met tango by chance— time later she was regarded as such. She was starred in three more movies, these belong to the sort that you’d rather forget soon. But a couple of them had a wide acclaim in the countries she had visited on her tours. They also meant a cashbox success. They were: Arriba juventud, in which she was paired with a boy named Palolo, a teenager star soon forgotten; Siempre fuimos compañeros (1972), directed by the actor Fernando Siro, with the pop singer Donald, shot in Mar del Plata, a city famous as a seaside resort(400 km south from Buenos Aires) and finally, in 1976, Te necesito tanto amor, directed by Julio Saraceni in which she teamed up with the pop singer Elio Roca.

Her career was getting along quite well, she appeared at all the festivals held in the province of Buenos Aires and was always picking up new fans. Later she joined a movement called Cruzada joven del tango alongside María Graña, Rubén Juárez, Reynaldo Martín and others. It was an idea to stir up the interest of the youth towards tango that turned out a failure.

Her capabilities for the city song did not foretell a revolution, a mass movement, but her warm low pitch, her attractive figure and her personality were beyond any slip. Furthermore, she was still in a period of growth.

In 1971 she recorded for the Diapasón label; she was accompanied by the orchestra conducted by Luis Stazo. Among the numbers recorded the following tangos stand out: “Amor de verano” and “Bajo mi piel”, the waltz “Dos corazones”, the boom of that time “Balada para un loco” and the classic “Sin lágrimas”. In that year but with the orchestra of Lito Escarso and for the same label she recorded “Rondando tu esquina”, "Más solo que nunca” and “Madreselva”, among others.

In 1975 she signed a contract with the recording company EMI-Odeon, along with the Raúl Garello Orchestra, to record several classic tango tunes, such as: “El último organito”, “Pero yo sé”, “La última curda” and “Nostalgias”.

Lastly in 1982, the Polydor recording company released her last two long-playing discs with the accompaniment of Orlando Trípodi conducting his orchestra and his quartet. Among other recordings, these are: “Sur”, “El pañuelito”, “Bien criolla y bien porteña” and “La cumparsita”.

In that year rumors about her health began to be heard. In November because of a serious illness she underwent an operation. When she read the news published she said in an interview: «I don't have cancer!». Unfortunately the illness was growing quite fast.

Her last appearance was at the Bergara Leumann's traditional Botica del ángel.

Someone offered her a villa in Don Torcuato —thirty kilometers far from the Capital— where she could stay until she recovered. It was all in vain, she died there. Her dead body came back to her beloved town of Humboldt and now there are a mausoleum and a street bearing her name.

About ten years later an elderly man, gray-haired, softly speaking, spontaneously turned up at my radio program Siempre el tango. It was Ado Falasca, her father. He neither wanted interviews nor that I would say something about his presence, he had just come to deliver a cassette with ten numbers sung by his daughter. He neither asked us to play it back and he did not even insinuate it. After a few minutes he left. It was not a special honor for me, he had the same attitude towards other tango programs. Simply, it was a respectful intent so that the name of his daughter were not forgotten. Furthermore her career in tango and her days in this world deserved that.