he was never among the greats and today very few may remember her name. But together with Tita Merello and Tita Galatro, the Vidal was the other Tita that the listeners of the 30s would choose at the time of hearing a tango.

She came to singing by chance because her family had imagined a future quite different for her: the customary and bourgeois goal of being a housewife.

An orphan because her father had died when she was a child, she studied at a school run by nuns until she was fourteen. When she finished her studies, her family decided that she had to marry and at the early age of fifteen she was married to satisfy the wishes of her mother. A serious mistake because, according to Tita’s own words, the matrimony was «a tragedy». The young wife, challenging her environment, decided to separate six months after the wedding. This decision was not well regarded by her family that thought it was an affront to morals and custom.

Then she took another step as brave as the first, if we think she was still a very young girl: looking for a job. Thanks to the recommendation of a girl friend she was admitted in a parlor as an apprentice to a manicurist. One month later the manicurist left and Tita replaced her.

Later she quit the parlor to work in a beauty parlor as the perosn in charge. Her situation was improving. Time later she established her own beauty parlor and she herself worked as manicurist, face masseuse and curling hair.

Her life seemed to be settled, she had a job, she was independent and was able to pay her expenses; but an unknown facet was pushing to spring out: her love for singing. And that wish of being able to sing tangos on the radio someday was growing until it became an irresistible idea.

The recommendations she got among the ladies that frequented her shop made her dream come true. She made her debut on a radio station as an amateur, that is to say, with no pay. People liked her and a few weeks later she was paid a wage of 90 pesos.

At the beginning, Tita was engaged with her two tasks, the beauty parlor and the radio, but as soon as time was passing her work on the radio was heavier. So she closed her local to devote herself completely to her career as singer.

Little by little she was becoming well-known, getting a following and her income improved. She also devoted to acting. In 1933 she appeared at the Fémina as a young lady but her work on the radio was her best. She appeared on Excelsior, also on the Fénix and París radio stations. She achieved a discreet but deserved popularity. For example, in 1935 was part of the cast of artists that worked on Radio París alongside artists of the level of Ignacio Corsini, Miguel Caló, Adhelma Falcón and Agustín Magaldi.

The press highlighted each step of her improvement, praising her evolution. In 1934 she was in the peak of her rising stage and at the contest organized by the Sintonía magazine to choose Miss Radio she was above Ada Falcón in the polls.

Her beauty was neither overlooked by magazines which often praised the gestures and the smile of Tita: «Her eyes are like suspension dots written in the air which make that many radio listeners are caught pending before her body perfection», as Sintonía published in 1936. That was a fair praise. As well La Canción Moderna said about her smile that it «would make an advertiser of toothpaste very happy».

Her career was modestly carried out until the day it began to decline and disappear. In 1941 she appeared in the movie La quinta calumnia but she is not even mentioned in the cast of the film.

Today, Tita Vidal is completely forgotten but she is still present in those old magazines of the thirties in which we can appreciate her beauty and have a testimony of her ephimeral time of popularity because she never recorded. She was a modest female singer that had a following but, above all, was one of the many girls who contributed, with her effort, to the radio broadcasting of our tango.