The woman in tango

Julia Ferro: and in that show it was heard: ..."Come on, man, sing La Resentida"

The nights of Tucumán have a special magic. The Chalchaleros say in their
And they shall lull me then, blooming and graceful, the nights of Tucumán...
Moon zambas, rounds of love.
...I am always waiting to return to my old home, because they are calling me, the
Sweet nights of Tucumán...

I rescue from Guada Aballe's book Del tiempo de Carlitos a comment from the
Sintonía magazine about Julia Ferro, which was etched in my memory:
In her small but deep voice pulsed the enchantment of the Tucuman nights.

Julia managed to combine her backpack of northern songs, which she had listened to since her
cradle in Tucumán, with the sentimental charge of the tango that conquered it in Buenos
Aires. She allowed both rhythms to coexist perfectly. She achieved a
desired and difficult to access at that time, the title of being an artist, due to the
excellent interpretation of their songs, the value of their lyrics and compositions and
her human quality that made the public love her so much.

I collect various comments about her voice through magazines and people who
they lived that time:

Atahualpa Yupanqui in his book The Song of the Wind mentions and values his figure.
saying:
Voices of artistic girls passed through Buenos Aires, very pleasing voices: Julia
Ferro, La Serranita, Margarita Silvestre, Virginia Vera, Zulema Uccelli, Celia
Louzan. The Argentine song sounded loud in the mouths of those singers who
they maintained the prestige of the popular songbook for years.

The magazine La canci n moderna rescues it as an undisputed value of the song.

creole.

Raul Outeda in his book The History of 500 Tangos, referring to the tango My Pain
... appeared in the 1930s and according to the original score, great
creation of the singer Julia Ferro, excellent voice of the past, "The yearbook of the
tango speaks of her as a 'beloved figure of the 30s'.

On the Guitarristas.net page, there is a biography about Angel Domingo Riverol.

commenting that he was the guitarist for several songwriters (Adhelma Falcón, Anita
Palmero, Mercedes Simone and Azucena Maizani) among whom is Julia,
defining it as: "the cultivator of native singing, Julia Ferro, missing
prematurely.

I have inquired with many collectors and have researched in various catalogs of
discs of the time and Julia never got to the record, it's a shame that it didn't remain.
phonographic record of your voice.

My first photographic contact with Julia is through the Telegráfica Magazine.

1930, in the Broadcasting Artists section, where I shared the page alongside
Agustín Magaldi and Pedro Noda, known to the Argentine public for their excellence.
executions and Humberto Gorno, national singer dedicated to songs from Corrientes.

He would have been born in 1909, in Tucumán, the exact date is not known and he came to
settling in Buenos Aires in 1924. He came from a large family, three brothers and
five sisters, and they nicknamed her 'La Shulca' which in the Mollepatino Popular Dictionary
Youngest son of the family.

Horacio Ferrer's book Tango, history and images documents that it began its
artistic career as a singer, in 1929, on the programs of the old radio
National (now Belgrano). He was a soloist for Radio Belgrano and Radio Argentina.

While she was dedicated to singing zambas, norteña music and styles, tango and tango
Campero was part of their repertoire.

In all subjects, love, disillusionment, the heart, and the soul are at stake.
She also sang a tango by her husband called Heart, be quiet for a bit, in
co-authorship with Eduardo Calvo and Armando Baliotti, recorded by Azucena Maizani with a lot of
warmth, feeling and passion and that I will also interpret as a chorus singer Pedro
Song in the Typical Orchestra of Julio De Caro that says:

In the sad solitude of that night / I heard from her chest some lamentations/
pain of a past sorrow / and of a strange suffering like the one I feel / since that
beautiful night for me / I sang my sorrows at the altar of your beauty / I was happy because
I saw in your gaze / the purity of your soul reflected

Shut up a bit, sweetheart, be still / if you already know that suffering is for men / no
for nothing do they wear pants / nor does one cry for anything, an illusion ...

Julia was a very good lyricist and composer. According to what I could confirm in
the Sadaic Library of Buenos Aires, Julia has registered the following
themes:

The waltzes La mensajera, Cañita dulce, sung by the folklorist Rebeca.

López Godoy on Radio Splendid on June 14, 1937 along with the songs The Butterfly
Oh beautiful Gaucho, who interpreted with so much delicacy and feeling, I dreamed with my
mother, sentimental waltz, dedicated in the score to the memory of his dear mother,
that was taken to the disk on the Brunswick label by Magaldi under recording 1649
with guitars.

I wrote the lyrics of the zamba "Camino del Aconquija," with music by Domingo.
Plateroti.

Julia travels and appears in Spain alongside Cesar Ginzó. There she leaves us as
I want to forget you, very valuable and instrumental, that has everything.
the elements of an excellent tango, transforming into a good exponent of the
Old Guard

Another of their songs, Sad Farewell, has lyrics by Julia and music by
Antonio G. Ciaccio under the Sangregario Publishing label.

It is also interesting to highlight the figure of César Ginzo (Justo César Ginzo) who
He was born on September 29, 1903, he was a bandoneon player and composer. He was part of
various orchestras, also sextets and quartets. He was part of Carlos's sextet.
Di Sarli in 1927, participated with Osvaldo Pugliese in 1928, with Carlos Vicente Geroni
Flores in 1930, formed the Baliotti-Ginzo sextet in 1934. He undertook various tours to
national and international level. He had his own orchestra, the Folk Orchestra
Argentina, of which Julia was a vocalist. As a lyricist and composer, she has several
temas El t bano, Coraz n, callate un poco, Perdon si no vuelvo, En un rinc n de
Hungary, I could never forget you. I passed away on March 11, 1983.

Not many photos of César circulate. In the book Tango 1880-1980 A century of history
Vol.2 appears alongside Armando Baliotti, both dressed in tails and bow tie when
they played together in the Empire Hall.

In her search, she captivated me and I discovered in Julia a great sensitivity.

in the themes, a fact that he shares with Caesar. Soulmates that tango will take care of
to unite. The titles of their songs indicate that they are two passionate about
our and for love, which I like to define as: "two simple people with a lot of
interior life." They worked together on various radios such as Splendid and Excelsior.

If we pay attention to the lyrics of César and Julia, Heart, shut up a little, and The
resentful, a very special connection is established, as both titles are
related to the theme. Jealousy, the pain caused by disillusionment in the
love, hope. The passion and feeling that they convey to us in sound
both topics.

Julia manages to convey and expose through her themes, situations lived by
she or close people. Let's think they were written a long time ago.

Women fought to gain their space as lyricists and to address a theme that
I will identify and represent your social situation within music.

The zamba La resentida is closely tied to Salta and Jujuy. Julia knew how to visit
these provinces in their tours, it is possible that their figure has remained in memory
of its inhabitants and passed on to the new generations.

The first to take up the theme is another woman from Tucumán, Mercedes Sosa, who does so with
a lot of love, respecting and rescuing Julia's sensitivity. The album is called
Like a free bird.

Among the folk groups that sang it are:

Those from Salta, Los Chalchaleros, Pueblo dentro, El tierral, El d o Coplanacu, which is
they were tasked with carrying out a very good dissemination of the topic, with very good outreach to the
people. The group Kausani, the day Socavon. Among the soloists we can mention
Luis Salinas.
Among the young interpreters: Juan Iñaki "With a privileged, clear, and warm voice"
this young singer arrives and stays in the hearts of those who know that music,
Poetry, song are part of our national feeling...

Natalia Barrionuevo, a young interpreter, in her album Dreams, makes a very special version.
meaningful and current.
J sica Mateo records the song on the CD Como el Cand n. She was a breakthrough singer in the
year 2004.

A rarity is the work done by Julián Hasse. He considers it among works of

Argentinian native repertoire and arranged for bandoneon in his work Bandoneon
Folk, from Editorial Altavoz, from the year 2008.

There are different works titled The Resentful, by different authors, with
variety of rhythms, although in all of them love is the central axis.

At the Station of Wishes, Caballito Cargo Beach at 1600 Bacacay (To the
the height of Av. Rivadavia at 6200 in Buenos Aires is the venue La Resentida,
which is named after the zamba of the Ferro. There the deposits of
Sarmiento railway was recovered as a cultural space. Its motto is "for"
dance and listen to our music." Gabriel Red n tells me that they gave him that name.
because this zamba has accompanied them in guitar sessions for at least 20 years and the
they recorded three years ago with the group El Tierral.

When we named it, many girls told us it was somewhat aggressive.

for women, and we always answered that there was no bigger misogynist than
The women themselves, and the example is in this zamba that Julia Ferro wrote.

On YouTube we find this topic sung by many unknown people who

They interpret this zamba with much energy offering their hearts, from all the
points of the country towards the world.
Different interpreters, different versions for the same zamba. The magic of Julia
It lies in the fact that other artists, singers, and people bring us back through their voice,
the voice of the Ferro, that Creole girl, who without any resentment... naked
before all her passion of an eternal lover.

Julia Ferro passed away, very young, at the age of 33, on August 4, 1942, in the city.
from Buenos Aires.

Hopefully this article helps to know a little more about Julia and that when someone
At a show or a gathering say: 'Come on, man, sing La Resentida' remember this
Tucumana, of pure feeling and a unique sensitivity that left us this legacy
that will always be relevant because it speaks of love, that irreplaceable feeling,
that is part of our life.

...I will cry my sad fate

if your love forgets me
I was born to love you
all my life, all my life.

Poor my heart,
tired of crying.
Search in my chest for calm,
owner of my soul, owner of my soul.

The Resentful, Julia Ferro 1938

Tuqui Rodríguez