Rosita Serrano (born Maria Martha Esther Aldunate del Campo, 10 June 1914 – 6 April 1997) was a Chilean singer who had her biggest success in Nazi Germany between the 1930s and the early 1940s. Because of her bell-like voice and pitch-perfect whistling she received the nickname Chilenische Nachtigall (Chilean Nightingale).
Her father Hector Aldunate was in the diplomatic service. With her mother Sofia del Campo who was a popular opera singer she moved to Europe in the early 1930s. Initially they lived in Portugal and France but by 1936 they moved to Berlin.
Serrano had her first successes in the Wintergarten and the Metropol Theater where she performed Chilean folk songs. During that time she was discovered by German composer Peter Kreuder who managed that she got a record contract at the German Telefunken. Henceforth she performed in the German language including popular songs like Roter Mohn (Red poppy), Sch?n die Musik (Beautiful Music), Kü? mich, bitte, bitte, kü? mich (Kiss me, please, please kiss me), Und die Musik spielt dazu (And the Music plays to it), Der Onkel Jonathan (The uncle Jonathan), and Der kleine Liebesvogel (The little love bird). By 1938 she received roles in the revue films Es leuchten die Sterne (1938), Bel Ami (1939), Der vierte kommt nicht (1939), Die kluge Schwiegermutter (1939), Herzensfreud – Herzensleid (1940) and Anita und der Teufel (1941). Her appearance in Herzensfreud – Herzensleid was in a co-starring role with actor Paul Hoerbiger. Between film shoots, she went on tour with two popular dance orchestras, one led by Kurt Hohenberger and the other by Teddy Stauffer. Due to the intercession of Minister Joseph Goebbels, she got gigs in the radio show Wunschkonzert für die Wehrmacht (musical request programme for the Wehrmacht). In 1940 she recorded the very popular song La Paloma, heard throughout Germany.
Her voice style was mainly operatic coloratura soprano with a deep, fast vibrato. She added frequent embellishments such as soaring arpeggiation and melisma. Some songs were recorded with a few words whispered or spoken, and she occasionally emphasized words with a gritty, growling jazz style reminiscent of African-American blues singer Ethel Waters. She was a pitch-perfect whistler in the manner of Bing Crosby. The songs she recorded in German and Spanish varied from folk to pop, including flamenco, rumba, tango and mambo.
Rosita Serrano (born Maria Martha Esther Aldunate del Campo, 10 June 1914 – 6 April 1997) was a Chilean singer who had her biggest success in Nazi Germany between the 1930s and the early 1940s. Because of her bell-like voice and pitch-perfect whistling she received the nickname Chilenische Nachtigall (Chilean Nightingale).
Her father Hector Aldunate was in the diplomatic service. With her mother Sofia del Campo who was a popular opera singer she moved to Europe in the early 1930s. Initially they lived in Portugal and France but by 1936 they moved to Berlin.
Serrano had her first successes in the Wintergarten and the Metropol Theater where she performed Chilean folk songs. During that time she was discovered by German composer Peter Kreuder who managed that she got a record contract at the German Telefunken. Henceforth she performed in the German language including popular songs like Roter Mohn (Red poppy), Sch?n die Musik (Beautiful Music), Kü? mich, bitte, bitte, kü? mich (Kiss me, please, please kiss me), Und die Musik spielt dazu (And the Music plays to it), Der Onkel Jonathan (The uncle Jonathan), and Der kleine Liebesvogel (The little love bird). By 1938 she received roles in the revue films Es leuchten die Sterne (1938), Bel Ami (1939), Der vierte kommt nicht (1939), Die kluge Schwiegermutter (1939), Herzensfreud – Herzensleid (1940) and Anita und der Teufel (1941). Her appearance in Herzensfreud – Herzensleid was in a co-starring role with actor Paul Hoerbiger. Between film shoots, she went on tour with two popular dance orchestras, one led by Kurt Hohenberger and the other by Teddy Stauffer. Due to the intercession of Minister Joseph Goebbels, she got gigs in the radio show Wunschkonzert für die Wehrmacht (musical request programme for the Wehrmacht). In 1940 she recorded the very popular song La Paloma, heard throughout Germany.
Her voice style was mainly operatic coloratura soprano with a deep, fast vibrato. She added frequent embellishments such as soaring arpeggiation and melisma. Some songs were recorded with a few words whispered or spoken, and she occasionally emphasized words with a gritty, growling jazz style reminiscent of African-American blues singer Ethel Waters. She was a pitch-perfect whistler in the manner of Bing Crosby. The songs she recorded in German and Spanish varied from folk to pop, including flamenco, rumba, tango and mambo.
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