In an earlier post, I wrote about the increasing prestige of the orchestra singer during the period 1943-44, and its reflection in the pages of the El Mundo Dance Guide. First Vargas went solo (though it didn't last long), followed by Castillo, Rufino, and Fiorentino. By the end of the year 1944, Podestá, Berón, and a few others would do the same. All of them received extensive exposure via the medium of newspaper advertising.
As if in reply to all this hoopla surrounding the solo singers, several of the well established orchestras began to feature their singers more prominently in advertising.
An admired solo vocalist like Rufino fronting his own orchestra might have been a very exciting prospect, but that didn't mean that a top orchestra like Troilo's or Di Sarli's need suffer by comparison. On the contrary. Especially when those orchestras, which by their very nature enjoyed top-notch musical direction, also boasted very fine singers of their own.
It is sometimes said that Juan D'Arienzo valued the role of the singer and the lyrics somewhat less than his compeers. His choice of songs and lyrics did not highlight the singer's gifts nearly so much as those of Troilo, Di Sarli, or Demare, and he sometimes chose works that were, from a lyrical standpoint, inferior or in questionable taste (e.g., El Hipo, El tarta, Sepoñoporipitapa, Giuseppe el crooner, Che existentialista, etc). Thus, it was with great interest that I found the accompanying July 1944 ad for a show at the famous Chantecler cabaret (or "dancing" in the euphemistic parlance of this period). To my knowledge, this was the first time that the faces of either Echagüe or Mauré were seen in the pages of the Dance Guide. I'm fairly certain it was the last, as well.
You see—or so the ad subliminally admonishes the reader—not only Castillo, Rufino, and Fiorentino are singing stars in their own right! Look at Alberto Echagüe and Héctor Mauré! They are well established stars with a long history of public acclaim, a lot of great performances under their belts. And both singers have their own orchestra, too: the "supremely popular" one directed by the great Juan D'Arienzo, The King of the Beat. You can have the best singers and the best orchestra together in one act. No need to choose between one or the other.
And, oh yeah, I forgot to mention: Don't forget the Chanteceler's headlined "Modern Review" floor show, "The Invasion of the Beautiful Girls." Guys, your girlfriend might be eager to see one of those male crooners make love to the microphone, but we know what you really want.
You see? You can have it all!
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