Chola Bosch

Real name: Beretta Moriondo, Irene
Singer and actress
(5 May 1915 - 7 December 2008)
Place of birth:
San Martín (Buenos Aires) Argentina
Abel Palermo

he was born in the locality of San Martín, province of Buenos Aires. Since an early age she has evidenced a great inclination for singing and acting. Because of that her parents, Atilio and Ana, decided to enrol her in an academy near her domicile where she would study theatre and singing.

At age 19 she made her debut on LX8 Radio París as member of the Cuarteto Vocal Ferri along with the later great female singer María de la Fuente.

By 1936 Chola was appearing as soloist singer on LR4 Radio Splendid, also as singer and actress in the theater company of the Ratti brothers at the Apolo theater where she premiered the tangos: “Se marchita un clavel” and “Un buen recuerdo” whose composer was the pianist of the company: the young José Tinelli.

The following year she joined the cast of singers of Radio Stentor and was female vocalist of the orchestra led by Tinelli. The male vocalist was Rodolfo Martínez.

Later she appeared in the Ratti brothers’ movie Virgencita de madera directed by Sebastián Naón with script by Ricardo Hicken in which she sings the waltz “Canción de amor” and the tangos “Música de ensueño” and “Un buen recuerdo” with lyrics by Manuel Ferradas Campos —writer of the movie’s plot— and music by Tinelli, musical director of the motion picture.

In 1938 they appeared at the carnival balls of the Villa del Parque club. By that time she quit the Martínez’s orchestra and was replaced by Luis Alberto Bottini, a Uruguayan singer that adopted the stage name Luis Mendoza. Besides appearing in different venues they recorded, teaming a duo with Mendoza, the tango “El embrujo de tu violín” and the Tinelli and Carlos Marín’s milonga “Milonga nueva”.

That year Chola premiered the most popular Tinelli’s tango, “Por la vuelta”, on Radio Belgrano. Regretfully, they did not commit it to record. Instead it was recorded by the female singer Tita Galatro —in a quite beautiful rendition— and by the Francisco Lomuto’s orchestra with Jorge Omar on vocals, both recorded in 1939.

But this tango had to wait for fifteen years to reach the acclaim its authors expected. It was when in 1956 it was played and recorded by the orchestra led by José Basso —former pianist of Tinelli’s— with Floreal Ruiz on vocals. The latter would include this number in his repertoire until the end of his career.

It was a well-known secret that the bandleader and the female singer were having a love affair soon after they had met and it happily ended in marriage.

In the early forties Mendoza and Basso split with the orchestra and joined the aggregation fronted by the bandoneon player Juan Sánchez Gorio.

In 1941 the team Tinelli–Bosch was billed in a successful program on LR6 Radio Mitre alongside with the female singer Adhelma Falcón and the Rafael Canaro’s orchestra.

The following year they swapped to Radio Belgrano where Chola sang along with Horacio Acosta and Héctor Palacios and was in the cast of the movie Un muchacho en Buenos Aires directed by Julio Irigoyen and premiered in April 1944. Thereafter the married couple made an extensive tour of Uruguay.

In 1947, at the Teatro Apolo the female singer was billed with the singer Alfredo Arrocha, Gregorio Ciccarelli, Leonor Rinaldi and Tito Luisardo.

Some months later she decided to embark in a new show business project that forced her to leave the Tinelli’s orchestra. Her new art vocation was acting. She was summoned to impersonate a character at a comedy at the Teatro Casino on 356 Maipú Street and also appeared for a season as actress in a radio drama on Radio Belgrano alongside the actor Roberto Salinas.

As from 1950 she joined the Radio Splendid’s cast appearing either as singer or as actress. She performed at different shows until 1956 when she quit show business. She had a short return as female singer in 1963 on Radio Belgrano where she was accompanied by the staff orchestra of the radio station.

But after the mid- 60s her appearances were less frequent until she disappeared from the Buenos Aires venues.

She was, undoubtedly, one more star of our tango that today is hidden in the corner of memories. We thought it was just and fair to rescue this beautiful, sweet vocalist that so many pleasant moments gave to a young generation delighted by her voice through the radio broadcasts back in the late thirties.