To the 83 years, Susana Rinaldi offers a cycle of successful recitals. Takes stock of his life: her new bond with her ex-husband Osvaldo Piro, advice to his children Alfredo and Ligia, and the recognition of his niece Ana Coacci.

Thank you, Susana, for bringing us, to Paris, Buenos Aires, an Argentina that hurts us so many times and we lack. Thanks for being who you are, for giving us so much. Loves you, July", says the dedication that Cortázar wrote to a photo in which he shakes hands with his friend Susana Rinaldi on the stage of the Olympia in Paris. Era 1977, part of the time when the Argentine singer and actress triumphed in Europe, a foundational step for her: "I owe everything to France and the French discovered the tango song thanks to me".

That memory, postcard size, in black and white, is today framed in his AADI office, the Argentine Association of Interpreters, of which she is vice president, and where he works daily at his 83 years. He manages to overcome an osteoarthritis that affects one knee and goes up to the Torquato Tasso Cultural Center. Saturdays in June - after the premiere, the 8-, he has the luxury of singing, with his powerful and unbroken voice - under the direction of guitarist Juan Carlos Cuacci, next to piano, chelo, double bass and two bandoneons–, a repertoire of classics from the 2 x 4, like orange tree in bloom, and little traveled song-poems by Chico Novarro, to which Tana puts her passionate interpretation.

This is Susana Rinaldi, porteña and cosmopolitan, grandmother with overwhelming force, woman who has tango as her identity and professional flag; was admired by figures like Cortázar and, at once, she continues struggling to achieve recognition that does not make her pay for the fact of being a woman in tango. - What do you attribute the enthusiastic reaction of the public? -Just now, at the age i am, there is a kind of, I'm not going to exaggerate, veneration.

further, there are times when the situations of the country are a bit arid for artists, or how it happened to me lately, that suddenly you're sick - I was in bed for a month and a half, without moving, and that for me is frightening; I suffered the disease that the country suffers by hurting myself–, and then it's like you're not there. [Now] evidently, they haven't seen me for a long time, for example, in Tasso. And then, they are happy coincidences. Nothing else. —How do you manage the energy? How do you take care of your body? —For energy, I am heir to the mother I had. And the voice… it is the whole body that intervenes so that a voice comes out. The best way to know if the other has life is by listening to him speak.

The human being has a voice to manifest; if you've heard enough, can you say: "It is worth it that you continue to listen to me and continue talking with the other". —This year you have shared with Osvaldo Piro, the great musician and your ex husband, a program of "La hora del tango", Public TV cycle. How did you live that experience? "As the best of my life. I was very moved when Osvaldo entered the stage leading me by the hand. I was taking care of myself a lot [on the move], and in those situations, take you by the hand, it is because they are accompanying you and at the same time protecting. We both carry a new brotherhood.

Many things have to happen, and then the differences lie along the way. It has happened to us for good, especially, of the children [the singers Ligia and Alfredo Piro]. It was the first time that Osvaldo with his orchestra has accompanied me: the first time in life. - Do you give musical advice to your children? -Tips, no. It's the worst thing you can do with your children: never give advice. You can say at most: "It would also be good to tempt on this side", and you see the face they put on you; if they look the other way, you did not say anything. My children are very personal. And this is good. -In that sense, What do you think about ana coacci, who is one of the actresses who have denounced Juan Darthés for sexual harassment? —Anita is my niece, the youngest daughter of my sister and my brother-in-law, who is a musical director. It is stupendous, she is a brave girl. It has that character that decides it already: Before talk, what you want is already decided.

I would have needed to be born in another country, because here you are not forgiven even the things you say, nor the things you think, nor what you can advance. They are looking at you and [pointing out]: "But what is this person saying?”. They are things that have happened to me, or great companions on the road, that have been wonderful and have not had that wonderful recognition in this country. —It was because of their condition of being women? -Absolutely, yes. It's for being a woman. And Ana has everything to get a dagger stuck in her at any time: she is a whole woman, and that deserves respect. Of tangos, Sinatra and Piaf - What musicians in the world have been references, inspiration? —The one that I liked vocally and I still like, The one who strikes me as a genius and never realized he was, es Frank Sinatra, a man who sings without effort, a man who has the courage to have the glass of whiskey there next to, accompanying him.

Judy Garland is the other ... What can I tell you about Piaf, a woman whose life was destroyed before she knew it [but] he sang as he pleased, a woman who fell in love singing, in France, a country of dry people: the French are incapable of externalizing the things that happen to them. —You have often declared, in different ways, that tango does not have enough recognition. Why? —It's a song that was born in the Andurriales, in the piringundines. It was born as a dance, as an excuse that the malevos used to better stick the knife in the other.

Tango is always a tragedy, pure fatalism. Tango is never quiet, it is always violent. Because, I have been accused many times of being too or unnecessarily strong. But the tango has arrogance, intemperancia. Tango helped me a lot to get the flow of voice that I did not know how to express. I must have experienced, like other people, the need to scream: that need to scream was given to me by the tango.

And in this world of tango, poor dear, the woman has always had to be forgiven, for getting into this cave of thieves of the soul that are the malevos.

Source: Journal Profile – 15 June 2019