In an old Belgrano radio programme from 1937 that we have in our possession, there is a kind of promotion for that station. It says:
-“We are pleased to announce that we have renewed the contract with the following female singers” (term of the time) and then a long list of 10 or 12 singers followed. It was headed by Ada Falcón and among others were Libertad Lamarque, Mercedes Simone, Adhelma Falcón –her sister- Juanita Larrauri, Nelly Omar, etc.
The Falcóns were three sisters – Ada was the oldest, the most famous – whose names began with “A”. Adhelma and Amanda, who was an actress.
We would not like to add much about the artistic aspect of Ada Falcón, since it is not our task and because there are people more authorized to do so.
We are much more interested in human beings and in that field, perhaps we can contribute some things. But I think that what is most important is the valid reason for her renouncing what people usually call happiness, wealth, honours, prestige, exchanging it –she did it- for voluntary seclusion in a religious house in the province of Córdoba.
We would only add that he recorded up to 15 albums per month.
With Francisco Canaro’s orchestra he starred in one of the first and most memorable Argentine films: “Ídolos de la Radio”, directed by Eduardo Morera, with Ignacio Corsini, Tito Lusiardo, Tita Merello, etc.
Ada Falcón performed on the most important radio stations of the time, including a stop at this station.
Some people remember that officers from a nearby police station would stand outside the radio station to protect his physical integrity, given the crowd that gathered at each of his appearances.
He avoided journalism to the point of becoming a mysterious, distant figure.
Ada Falcón was a tall, beautiful girl with jet-black hair and strange green eyes who claimed to earn 10,000 pesos, yes, ten thousand pesos a month!, at a time when a car cost 3 or 4,000 pesos.
And a bank employee could not earn even 200 pesos.
That income came from his radio performances, recordings, and festivals.
Ada Falcón always had an aura of mystery.
She was truly a myth. For the sweetness of her voice, for her uncommon beauty, but especially for her attitude.
She shunned journalism, as we said before. But she also shunned the public and all the sparkle that popularity brings, which is not always pleasant. Obviously it depends on the artist’s personality.
Because just as some need the stage, others would prefer – if they could get it – the back row.
Different opinions were expressed one day in August 1942, more than ……. years ago, when the Ada Falcón myth took concrete form.
It was the moment when he decided – and we deserve all the respect that an outside attitude should deserve – to give all their assets to a religious congregation.
And Ada Falcón gave away, without the slightest effort, her jewels, her properties, which were several, her furs, her money, works of art. She gave everything away.
He undoubtedly felt an enormous spiritual need to which he attributed – and this is not in any way pejorative – a large dose of mysticism and religious conviction.
And in this very personal aspect, no one has the right to be a judge. Moreover, when man becomes a judge of others, it is almost always only to condemn.
To add an opinion to these assessments would be to invade the intimate sphere of Ada Falcón, whose real name was Ada Elsa Aida Falcone.
We just wanted – based on the fact that she was a true star of popular song – to remember her as a kind of tribute for what she artistically offered in recordings that are still remembered, such as: “Ventarrón”, “Destellos”, “Secreto”, and so many others.
Her voluntary desire to get away from that world of lights and tinsel, from that brightness that sometimes caresses and other times blinds, and the decision to choose her destiny, brings to our mind this aphorism: “We are not the architects of birth or death. But we can be the architects of life.”
Source: Ambito
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