he journalist Jorge Göttling defines him as an example of the «select group of singers that are still in vogue and active in tango after having carried out their careers in the hot trenches of the Buenos Aires music in the fifties. Nowadays we find his voice quality without decline, an unspoiled expressiveness and a repertoire that includes the tangos which were his hits as well as others written by authors of this time.» (Clarín, Show business section, Saturday May 25, 2002).

He was born in the neighborhood of Villa Crespo, in the city of Buenos Aires and, since an early age he evidenced his inclination to music and singing. At age 16 he won a contest held at the Café Marzotto. Then he was already bearing his present professional name.

He joined several local orchestras in different neighborhoods, such as the one led by the bandoneonist Enrique Bardi, who used to present him as the «gallant singer». At one of those stints Aquiles Roggero, a violinist as well and leader of the Orquesta Símbolo Osmar Maderna, heard him and invited him to Radio El Mundo for an audition. He was successful in it and made his debut on September 15, 1954.

He appeared on Radio El Mundo at the renowned program Glostora Tango Club. He shared the role of vocalist with Jorge Durán and, later with Tito Dávila and Jorge Hidalgo. He stayed with this orchestra between 1954 and 1958 and made 8 recordings for the Pampa label. One of them was a big hit: “Llamame amor mío”.

As orchestra singer he reached his ultimate consecration when he joined the Carlos Di Sarli Orchestra, one of the best orchestras of all times. With this aggregation he made his debut on July 1, 1958 at the dancing room Mi Club. He made four recordings, among which “Hasta siempre amor” is a standout. He was the last vocalist with El Señor del Tango.

When the orchestra disbanded after the leader’s death, many orchestra leaders were interested in him, but destiny launched him to a new stage as soloist.

His performances on television began and he appeared at the TV shows with biggest audiences: Casino Phillips, El Special and Grandes Valores del Tango.

He made tours throughout the country, and frequently gigged in Peru, Chile, Uruguay, Mexico and Brazil.

After 1970 he recorded extensively with different line-ups. For the Magenta label he recorded 12 numbers (1970); for Music Hall, two numbers backed by Horacio Malvicino’s orchestra (1972). In 1973 a long-playing record was released (12 numbers) with the accompaniment of the Miguel Nijensohn’s quartet. Here there are two standouts: “No la traigas” and “Un desolado corazón”. He recorded as well with the orchestras led by Jorge Dragone, Rubén Sosa, Ángel Cicchetti, Lito Scarso, Alberto Di Paulo, Lucio Milena and Víctor D'Amario. During his stay in Peru (1982) he recorded an LP which solely included Peruvian waltzes and the accompaniment was played by guitars.

He is a truly representative of the generation of good singers that appeared in the 50s and who had to struggle with the most difficult times of our city music. However, he stood out among his colleagues and as a piece of evidence there is a compact disc titled «Horacio Casares, la voz que el tango esperaba» (Horacio Casares, the voice that tango was waiting for.