·"La Gardela" - Nelly Omar

Her diction, her phrasing, her technical perfection, her good taste, in other words, her interpretative quality makes of Nelly Omar (born Nilda Elvira Vattuone - September 10, 1911) an example and the paradigm of a singer, who today when she is nearly ninety years old, keeps on pleasing us with her still fresh voice. She was born in the city of Guaminí, west of the province of Buenos Aires, an agricultural and cattle area with large estancias. In one of them, "La atrevida", his father (Marcos Vattuone) worked as foreman. She inherited the craft of singing from her father that was guitar strummer. She had several brothers and sisters, but only two women followed her steps: Elena, called Gory, who later became the wife of the poet Julián Centeya, and Nélida. Nelly herself has said that her father was an acquaintance of Carlos Gardel and, that on several occasions, when he visited the city of Buenos Aires, they went together to the horse races. "When in 1918 Gardel with José Razzano came to town, my father and other neighbors were who sold the admission tickets and organized the presentation of the duo. The theater was crowded. Later they came home. We, my brothers, my sisters and I, watched everything through a window. My father, like a good Italian of then, did not allow us to mingle with adults. But his image remained in my memory. Gardel, fat and his straightened hair with a central parting." In 1924 Nelly was already in Buenos Aires. She went for an audition to complete the cast for the folk outfit "Cenizas del fogón", and she was accepted at once. The outfit played on Radio Rivadavia, and besides singing, our girl had brief performances as actress. During the years 1932 and 1933, on the same broadcasting and also on other radios located at the same building (Radio Mayo and Splendid), she appeared together with her sister Nélida to sing as a duo. "We sang country tunes, mainly from the province of Buenos Aires: milongas, estilos, songs. But I also sang tangos as soloist." As a curiosity we can highlight that the girls exchanged their names, our Nilda became Nélida, more precisely Nelly, and Nélida adopted her sister Nilda´s name. Soon thereafter she joined another group of similar features: "Cuadros Argentinos". A radio theater play on Radio Stentor that, after its end, was performed on different stages in neighborhoods and country towns. "This group was led by the brothers Julio and Alfredo Navarrine, and by Antonio Molina as well. I married the latter in 1935, but it was an unfortunate mistake. I was married eight years and I ought to have broken up after the first two months, but the affection for my mother-in-law, a second mother for me, prevented me from doing so." Her presentations went on and her popularity was evidenced in 1937, when a great radio-phonic poll organized by the Caras y Caretas magazine recognized her as the best national female singer. In 1938, when she appeared at a cinema in the locality of Valentín Alsina, the announcer had the bad taste of calling her "La Gardel con polleras" (A Gardel with skirt), and through a long time and up to the present, the lack of imagination and the triviality of the announcers, keep repeating this somewhat unhappy nickname. Then the time of splendor of our artist came when she appeared on the most important radios accompanied by the leading artists of the period, like Libertad Lamarque and Agustín Magaldi, among others. The ideas and the scripts of her programs were created by Enrique Cadícamo and Homero Manzi, with the latter she began a sentimental relationship which lasted several years. Some people say that the lyrics of the tango "Ninguna" are inspired in her. She finally recorded for the Odeon label in 1946, on Francisco Canaro´s recommendation. She committed to disc ten numbers: on January 28, "Adiós pampa mía" and "Canción desesperada"; on October 8: "El Morocho y el Oriental (Gardel-Razzano)" and "Rosas de otoño"; on March 26, the following year: "Sentimiento gaucho" and "Sus ojos se cerraron"; on May 28: "Déjame no quiero verte nunca más" and "La canción de Buenos Aires"; and finally, on October 22, her two remarkable hits: "Desde el alma" and "Nobleza de arrabal", the latter with lyrics by Homero Manzi. That same year, the Society of Authors and Composers paid homage to her at a night local called "Novelty"; they bestowed a medal on her and she was renamed "La voz dramática del tango". Talking of her career, Nelly confessed that she does not like to beg, "to go around knocking doors. I would feel quite badly if I knew that I am singing because of a favor. Only once in my lifetime someone helped me, so as I would be allowed to appear on Radio Splendid. It was Evita, and it was not because I asked her. She did not understand why I was not given a space. She liked my singing and even more that I sang our music. I thanked her by recording the milonga "La descamisada" and the march "Es el pueblo"." During the remaining time of the Peronist government, Nelly Omar sang at the big popular celebrations that the government organized. «I never had anything to do with politics, I took part because I was Peronist, fond of Perón and Evita.» When the coup d´état that overthrew General Perón in 1955 called "Revolución Libertadora" took place, all the artists that had supported the overthrown government saw their possibilities of work cancelled, among them was Nelly Omar who was banned nearly for 30 years. At those difficult times she went to Uruguay and later to Venezuela. In 1966 she briefly appeared on television and only in the late 70s and in the early 80s she recorded with the guitarists Roberto Grela, José Canet and later with the orchestra of Alberto Di Paulo. In December 1997, being she 86 years old and with a clear incredibly young voice, with the dignity of the great ones, she recorded a compact disc including some pieces recorded for the first time: "Comme il faut" by Arolas with lyrics by Gabriel Clausi, and other two, with lyrics of who had been his last partner in life, Héctor Oviedo: "La piel de vivir" and "Por la luz que me alumbra". The guitars of Bartolomé Palermo and Paco Peñalba accompanied her.






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01- La Guitarrita
02- Sigo Queriéndote Igual
03- Corazón De Oro
04- Santa Milonguita
05- El Estrellero
06- Misterio y Canción
07- Tapera
08- Campo Afuera
09- Derecho Viejo
10- Para Un Adiós
11- Casualidad y Amor
12- Las Cuatro Respuestas
13- Milonga De Los Fortines
14- Tango Argentino
15- Guitarra De Echeverria
16- Duelo Criollo
17- Serenata Gaucha
18- Monte Criollo
19- Por El Camino
20- Antes
21- Margaritas
22- Las Cosas Que No Te Dije
23- Intriga y Pasión
24- Me Besó y Se Fue

Bonus Tracks:

25- Tu Vuelta
26- Pacencia
27- Pa' Dumensil
28- Sur
29- Parece Mentira
30- Amar y Callar
31- El Adiós de Gabino Ezeiza
32- Rosas de Abril
33- La Pulpera de Santa Lucía
34- Betinotti
35- Vamos, Vamos Zaino Viejo