Libertad Lamarque

1.1. Birth and Family

Libertad Lamarque Bouza was born on November 24, 1908, in Rosario, Santa Fe Province, Argentina. Her father, Gaudencio Lamarque (1874-1947), was an Uruguayan of French descent. Her mother, Josefa Bouza (1863-1932), was a widow of Spanish origin. Lamarque received her unique first name, "Libertad" (meaning "Liberty"), because at the time of her birth, her father, an anarchist, was imprisoned and actively pleading for his release.

1.2. Childhood and Education

From a young age, Lamarque demonstrated exceptional artistic aptitude. At the age of seven, she won first prize in a stage competition, signaling her natural talent for performance. As a child, she also participated in a group of street singers, touring and performing in cities near her hometown. Her first professional acting role came in 1923, when she appeared in the stage show Madre Tierra. This early exposure and success convinced her parents to relocate the family to Buenos Aires, believing it would offer her better opportunities to pursue a professional career.

2.1. Early Stage and Radio Career

In Buenos Aires, the family held high hopes, bolstered by a letter of introduction from a local journalist to Pascual Carcavallo, the owner of the National Theatre. This proved fruitful, as in 1926, Libertad was hired to sing in the choir and secured a one-year contract. Her official stage debut in the capital was in a play titled La muchacha de Montmartre (The Girl from Montmartre) by José A. Saldías, where she performed as part of a trio alongside Olinda Bozán and Antonia Volpe, with Rafael Iriarte providing guitar accompaniment. Within just a few months of her stage debut, Lamarque began broadcasting her performances on Radio Prieto, significantly expanding her reach.

2.2. Tango Singer Debut and Rise to Fame

Lamarque's burgeoning presence on radio quickly led to a recording contract with Victor Records. On September 26, 1926, she released her first album, Gaucho Sol, followed by the single Chilenito. In 1929, she joined the cast of Alberto Vaccarezza's play El conventillo de la Paloma ("The Tenement of the Dove"), a popular work that depicted the life of a character named Doce Pesos living in an immigrant tenement house. She performed in this show for two years, completing an impressive 1,000 performances before deciding to focus entirely on her burgeoning music career.

Following her theatrical success, Lamarque embarked on a musical tour, traveling through several Argentine provinces and neighboring Paraguay, accompanied by a musical trio. In 1930, she entered a prestigious competition held at the Teatro Colón in Buenos Aires, where her performances of the tangos "La cumparsita" and "Tocaneando" earned her first prize. This victory solidified her reputation and earned her the esteemed title "Queen of Tango". She concluded this period by performing in Tres valses (Three Waltzes), an adaptation of the operetta by Oscar Straus, alongside Chilean singer Choly Mur. By the mid-1930s, Lamarque's musical accompaniment often included bandoneon player Héctor María Artola, violinist Antonio Rodio, and pianist Alfredo Malerba, who would later become her second husband. She particularly excelled in performing poignant and romantic works, such as En esta tarde gris (In this gray afternoon), Sombras, nada más (Shadows, nothing else), Tristezas de la calle Corrientes (Sorrows of Corrientes Street), Caserón de tejas (Mansion of Tiles), Canción desesperada (Desperate Song), and Sin palabras (Without words). Many of her most iconic songs were composed by Enrique Santos Discépolo, whose style particularly suited her expressive vocal range.

3.1. Film Career in Argentina

Lamarque made her film debut in Adiós, Argentina in 1929, a film directed by the Italian Mario Parpagnoli, which was released the following year. A groundbreaking moment in her career and Argentine cinema came in 1932 with her role in ¡Tango!, recognized as the first Argentine sound film. This made her the first singer to be recorded for a sound film in Argentina, cementing her place in cinematic history. Libertad Lamarque possessed a light soprano voice with a vocal range that typically extended from middle C (C4) to "high A" (A5).

Following the release of ¡Tango! in 1933, Lamarque starred in a string of successful films, further solidifying her status as a leading lady in Argentine cinema. These included El alma del bandoneon (1935), Ayúdame a vivir (1936), Besos brujos (1937), La ley que olvidaron (1937), Madreselva (1938), Puerta cerrada (1939), Caminito de la gloria (1939), La casa del recuerdo (1940), and Cita en la frontera (1940). Her filmography during this prolific period also featured Una vez en la vida (1941), Yo conocí a esa mujer (1942), En el viejo Buenos Aires (1942), Eclipse de sol (1942), El fin de la noche (1944), and La cabalgata del circo (1945), among many others. These roles showcased her dramatic abilities and cemented her popularity with Argentine audiences.

3.2. Music Career in Argentina

As the "Queen of Tango," Lamarque's musical career in Argentina was exceptionally influential. Her earliest recordings with Victor Records established her as a significant voice in the genre. She was celebrated for her interpretations of emotionally rich and often melancholic tangos. Her collaboration with a trio of talented musicians in the mid-1930s, including bandoneon player Héctor María Artola, violinist Antonio Rodio, and pianist Alfredo Malerba, defined her distinct musical style. Lamarque had a particular affinity for the compositions of Enrique Santos Discépolo, finding that his songs deeply resonated with her expressive and dramatic vocal delivery. Her ability to convey profound emotion through her singing made her performances of tangos like En esta tarde gris, Sombras, nada más, and Tristezas de la calle Corrientes especially memorable, solidifying her enduring legacy in the golden age of Argentine tango.

4.1. The Legend of the Rift

A pervasive legend asserts that Lamarque was forced to leave Argentina due to being blacklisted by its First Lady, Eva Perón, then known as Eva Duarte. This narrative gained widespread acceptance, fueled by rumors of a direct confrontation between the two women. The most sensational aspect of the legend involves an alleged incident where Lamarque reportedly slapped Eva on the set of the 1945 film La cabalgata del circo, where both actresses appeared. Furthermore, it was widely rumored that once Eva Duarte became the powerful First Lady, Evita, she used her influence to forbid radio stations and film studios from playing Lamarque's music or hiring her, effectively ending Lamarque's films, music, and public presence in Argentina.

4.2. Counterarguments and Lamarque's Account

Despite the popular narrative, historians and Lamarque herself have offered significant counterarguments. Authors Marysa Navarro and Nicholas Fraser, in their work Evita: The Real Life of Eva Perón, argue that the blacklisting theory is unlikely. They suggest that Lamarque's move to Mexico was primarily a professional decision, driven by the flourishing state of Mexican cinema during the 1940s and 1950s, which offered better opportunities compared to the contemporary Argentine film industry. They also point out that Lamarque traveled freely between Argentina and Mexico both during and after Eva Perón's lifetime, which would contradict a strict blacklisting.

Libertad Lamarque consistently denied certain aspects of the legend throughout her life, particularly the sensational claim that she slapped Eva Perón on set. In her 1986 autobiography, she unequivocally denied the allegations. Instead, she explained that her frustration stemmed from Eva's perceived lack of discipline during the production of La cabalgata del circo. According to Lamarque, Eva often arrived late or deliberately stalled filming for trivial or personal reasons, causing delays and disrupting the production schedule. Lamarque recounted that complaints made to either the producer or the director yielded no results, as Eva was receiving preferential treatment due to her relationship with Juan Perón, who was then a rising political figure. By 1946, when Eva and Juan Perón were firmly established in the Presidential Palace, the rumors of blacklisting intensified, and Lamarque's career in Argentina did indeed appear to diminish, prompting her to seek opportunities elsewhere.

4.3. Reasons for Relocation

Lamarque's decision to relocate to Mexico in 1946 was a combination of professional foresight and the challenging political environment in Argentina. Prior to her move, in early 1946, Lamarque undertook her first tour of Cuba, which was hailed as a significant artistic event. Her debut at the Teatro América on January 7 featured a diverse repertoire, concluding with the Cuban composer Eliseo Grenet's "Facundo" to widespread acclaim. She performed daily, sometimes twice a day, and her final performance at Teatro América on January 20 saw three shows. During this trip, she toured cities like Camagüey, Ciego de Ávila, Santa Clara, Holguín, and Santiago de Cuba, and visited hospitals and schools. Her farewell performance at the Municipal Amphitheatre of Havana was reportedly attended by 20,000 people, demonstrating her immense popularity. It was during this tour that the Cuban press first bestowed upon her the enduring title "America's Sweetheart."

Just before this successful Cuban trip, Lamarque had received an offer for a seven-year contract from Hollywood. However, she declined it due to her inability to speak English and her apprehension about potential exploitation in an unfamiliar industry. In contrast, when Mexico offered her a film deal, specifically to appear with the acclaimed Spanish filmmaker Luis Buñuel, she accepted. This opportunity, coupled with the burgeoning Mexican film industry and the increasingly difficult professional landscape in Argentina due to the political climate, contributed to her definitive move to Mexico in 1946.

5.1. Mexican Film and Telenovela Career

Lamarque's first film in Mexico was Gran Casino (1946), directed by Luis Buñuel and co-starring Jorge Negrete. Despite the film's poor commercial reception, Lamarque's career in Mexico quickly gained momentum. She went on to star in numerous successful films, including Soledad (1947), The Lady of the Veil (1948), Another Spring (1949), Huellas de un pasado (1950), Mujeres sin lágrimas (1951), Nunca es tarde para amar (1952), Ansiedad (1952), and Rostros olvidados (1952).

Some of her most critically acclaimed work during this period included Otra primavera, filmed in 1949, La loca (1951), and Cuando me vaya (1953). For each of these roles, she received a nomination for an Ariel Award for Best Actress in 1951, 1953, and 1955, respectively, highlighting her consistent artistic excellence in Mexican cinema. Later in her film career, she appeared in movies such as Bodas de oro (1955), Amor de sombra (1959), Yo pecador (1959), and Rosas blancas para mi hermana negra (1969), where she co-starred with Cuban singer Eusebia Cosme. Her final two Argentine films, La sonrisa de mamá (1972) and La mamá de la novia (1978), came later in her career, marking a return to her homeland's cinema.

As her prolific film career began to wind down, Lamarque ventured into telenovelas. Her first venture into television soap operas occurred in Venezuela, where she was offered a role in Esmeralda in 1972. This was followed by another Venezuelan production titled Mamá. In 1980, she embarked on her first Mexican telenovela, Soledad. She continued her television work into her later years, notably playing a Mother Superior in Carita de Ángel at the age of 91. Her final television role was as Doña Piedad Vda. de Bracho in La Usurpadora in 1998, just two years before her death.

5.2. Music and Performance Tours

Parallel to her thriving film and television career in Mexico, Lamarque maintained an active and successful musical presence. In the late 1950s, she embarked on a significant concert tour with Puerto Rican singer Jesús Quiñones Ledesma, captivating audiences across Latin America. Her extensive tours took her to various countries, including Chile, Puerto Rico, Venezuela, the Dominican Republic, Guatemala, El Salvador, and Honduras. She also made a notable return to Cuba, where she performed in theater productions and recorded several albums, reaffirming her status as "America's Sweetheart." Her popularity even extended to the United States, where she sold out Carnegie Hall for a performance in 1947, despite her initial apprehension about working in the U.S. due to the language barrier.

6.1. Return to Argentina and Stage Musicals

Following the death of Eva Perón, Libertad Lamarque made a significant return to Argentina, where she once again embraced live theater. In 1967, she achieved a milestone by bringing the first Spanish-language version of the popular musical Hello, Dolly! to Latin American audiences, premiering at the Teatro Nacional in Buenos Aires. Her successful portrayal of Dolly Levi was so well-received that she later performed the musical in Mexico in 1968, under the direction of the renowned Manolo Fabregás.

In 1982, Lamarque starred in her own musical revue, Libertad Lamarque, ¿es una mujer de suerte? (Libertad Lamarque, Is She a Lucky Woman?), which was staged at the Teatro Lola Membrives in Buenos Aires. She took an active role in the production, writing the script herself, which was then adapted by Nicolás Carreras, with musical direction provided by Oscar Cardozo Ocampo. Her commitment to the stage continued into the late 1980s; in 1988, she participated in the season at Mar del Plata's Teatro Opera, performing in the musical A todo tango II under the direction of José Colángelo.

6.2. Television and Telenovelas

In the 1960s, Lamarque expanded her television presence by appearing in several episodes of the show Saturday Circular alongside Nicholas Mancera. In 1961, she filmed Así era mi madre, which stands as her only Spanish film production. Her foray into television began with telenovelas in Venezuela, starting with a role in Esmeralda in 1972, followed by another Venezuelan production titled Mamá.

Lamarque then transitioned to Mexican telenovelas, starting with Soledad in 1980. She continued to act in this popular format into her nineties, notably playing a Mother Superior in Carita de Ángel when she was 91 years old. Her final television role was as Doña Piedad Vda. de Bracho in La Usurpadora in 1998, a critically acclaimed and widely successful telenovela across Mexico and other Latin American countries, which aired just two years before her passing.

6.3. Honors and Recognition

Throughout her long and illustrious career, Libertad Lamarque garnered numerous awards and recognitions for her profound contributions to Latin American arts and culture. In 1978, she was honored by Venezuelan President Carlos Andres Perez for her significant impact on Latin American culture. In 1980, she received a shared Critic's Choice Award alongside the iconic Mexican actress María Félix.

Her native Argentina also paid tribute to her enduring legacy; in 1985, she was awarded the prestigious Konex Platinum Award for Best Tango Singer. The following year, in 1988, her handprints were immortalized on the "Walk of Fame of the Hermitage Hotel." The year 1989 brought further international acclaim, as she was honored at the Festival of San Sebastián in Spain for her achievements in film. She was also recognized by the Caesar Awards, presented by the Association of American Theater to Latin American artists in Los Angeles. That same year, a tile bearing her name was placed on the "Sidewalk of Latin Stars" in Miami, and a special tribute was held for her at the Autumn Festival of Paris.

In 1990, she was appointed "Illustrious Citizen of the City of Buenos Aires," and on November 15, 1991, just days before her birthday, the Municipal Council of Rosario granted her a similar distinction. In 1993, she was honored by Celebrando Magazine, a Spanish-language publication in the U.S., for her remarkable 70 years in film, theater, and music, as well as her philanthropic efforts. Her legacy was further cemented in 1998 when she was appointed as an Honorary Cultural Advisor and officially designated as a Cultural Legend in Buenos Aires. In 2000, she received the Ariel Award for Lifetime Achievement, a testament to her unparalleled career.

7.1. Marriages and Family

In 1926, Libertad Lamarque married Emilio Romero. Together, they had one daughter, Mirtha Libertad Lamarque Romero Deluca. Their marriage eventually ended in divorce in 1945. At the time, divorce was not legally permissible in Argentina, and although the relationship had dissolved much earlier, it took 12 years to officially finalize their separation.

Lamarque's second marriage was to Alfredo Malerba, the pianist who had accompanied her during her early music career in the mid-1930s. Their union was a long and stable one, lasting for nearly 50 years until Malerba's death in 1994. Her daughter, Mirtha Libertad Lamarque Romero Deluca, passed away on October 19, 2014, at the age of 86. In her later years, starting in 1996, Lamarque relocated to Coral Gables in Miami, Florida, in the United States, though she frequently traveled to Mexico City and Buenos Aires for professional engagements. Her daughter, grandsons, and great-grandsons continued to reside in Argentina.

7.2. Personal Crises

Libertad Lamarque faced several profound personal difficulties during her lifetime. In 1935, amidst a period of intense personal crises, she made an attempt at self-harm in Chile, trying to jump from a hotel window. Fortunately, an awning broke her fall, saving her life. Shortly after this traumatic event, her estranged husband, Emilio Romero, kidnapped their daughter, Mirtha, and took her to Uruguay. Lamarque, with the crucial support of a group of friends, including Alfredo Malerba, and her attorney, was able to regain custody of her daughter, bringing an end to that distressing legal dispute.

8.1. Major Awards and Nominations

Throughout her distinguished career, Libertad Lamarque was recognized with numerous accolades for her contributions to film, music, and television.

• Best Foreign Actress**, Puerta cerrada, 1940, Zagreb (WON)
• Best Actress**, Otra primavera, 1951, Ariel nomination
• Best Actress**, La loca, 1953, Ariel nomination
• Best Actress**, Cuando me vaya, 1955, Ariel nomination
• Critic's Choice Award**, shared with María Félix, 1980 (WON)
• Konex Platinum Award**, Best Tango Singer, 1985, Argentina (WON)
• Lifetime Achievement**, Ariel Award, 2000 (WON)

8.2. Artistic and Cultural Impact

Libertad Lamarque stands as one of the most iconic stars of the Golden Age of Argentine cinema and the Golden Age of Mexican Cinema. Her remarkable talent allowed her to achieve widespread fame throughout Latin America, where she became affectionately known as "La Novia de América" ("The Sweetheart of the Americas"), a title first bestowed upon her by the Cuban press in 1946. By the time of her death in 2000, she had appeared in 65 films (21 filmed in Argentina, 45 in Mexico, and one in Spain), recorded over 800 songs, and made countless appearances in theatrical productions. Her extensive body of work, combined with her powerful vocal performances and compelling on-screen presence, cemented her enduring legacy. Lamarque's influence extends far beyond mere entertainment; she played a pivotal role in shaping Latin American popular culture for over seven decades, becoming a symbol of artistic excellence and a beloved figure across the Spanish-speaking world.

10.1. Films in Argentina

• Adiós, Argentina (1929)
• ¡Tango! (1933)
• El alma del bandoneon (1935)
• Ayúdame a vivir (1936)
• Besos brujos (1937)
• La ley que olvidaron (1937)
• Madreselva (1938)
• Puerta cerrada (1939)
• Caminito de la gloria (1939)
• La casa del recuerdo (1940)
• Cita en la frontera (1940)
• Una vez en la vida (1941)
• Yo conocí a esa mujer (1942)
• En el viejo Buenos Aires (1942)
• Eclipse de sol (1942)
• El fin de la noche (1944)
• La cabalgata del circo (1945)
• Musical Romance (1947)
• La sonrisa de mamá (1972)
• La mamá de la novia (1978)

10.2. Films in Mexico

• Gran Casino (1946)
• Soledad (1947)
• The Lady of the Veil (1948) ... Andrea del Monte
• Another Spring (1949) ... Amelia
• La marquesa del barrio (1950) ... Cristina Payares/La Marquesa
• Traces of the Past (1950)
• Te sigo esperando (1951) ... Elena Montenegro
• La loca (1951) ... Elena Prim viuda de Villaseñor
• Woman Without Tears (1951) ... Consuelo
• Ansiedad (1952) ... María de Lara
• Nunca es tarde para amar (1952) ... Malisa Morales
• Acuérdate de vivir (1952) ... Yolanda
• Forgotten Faces (1952) ... Rosario Velazquez
• If You Came Back to Me (1953) ... Alejandra
• When I Leave (1953) ... María Grever
• La Infame (1953) ... Cristina Ferrán
• Anxiety (1953)
• Reportaje (1953)
• La mujer X (1954)
• Bodas de oro (1955)
• Música de siempre (1955)
• Historia de un amor (1955) ... Elena Ramos
• Escuela de música (1955) ... Laura Galván
• Bambalinas (1956)
• Mis padres se divorcian (1957) ... Diana Váldes
• A Few Drinks (1957) ... Eugenia Pavel
• The Woman Who Had No Childhood (1957) ... Rosaura
• Sabrás que te quiero (1958) ... Amelia Rey/Mónica/Gabriela
• Love in the Shadows (1959) ... Claudia
• Yo, pecador (1959) ... Doña Virginia
• El pecado de una madre (1960) ... Ana María
• La cigüeña dijo sí (1960)
• El cielo y la tierra (1962) ... Sor Lucero/Sister María de la Luz
• Canción del alma (1963) ... María Maragón
• Los hijos que yo soñé (1964) ... Mariana
• Canta mi corazón (1964) ... Luisa Lamas
• Arrullo de Dios (1966) ... Luz
• El hijo pródigo (1968) ... Alegría Román
• Rosas blancas para mi hermana negra (1969) ... Laura
• Hoy he soñado con Dios (1971) ... Lina Alonso
• La loca de los milagros (1973) ... Aurora Durban
• Negro es un bello color (1973) ... Eugenia

10.3. Films in Spain

• Lovely Memory (1961) ... Lucy