For many people, she was the most remarkable female tango singer or at least the most representative and eclectic. Considering her popularity, she made few recordings and what is worse, her repertoire -of an irregular quality- combined tango, milonga and "porteño" waltz with several country or exotic genres, reflecting her continental projection. She reached the top of fame in the 30s and 40s. Her art was basically addressed to the large portion of urban middle class through an emotional yet refined style. Thus, she avoided "lunfardo" expressions (Buenos Aires argot or slang) and cultivated a naive romanticism.