Description:
Cuban soprano and actress who started performing as a child and studied singing with the noted Italian mezzo Tina Farelli at her Bovi-Farelli Academia Filarmónica Italiana in Havana in the 1920's.
By 1930, Margot was good enough to sing professionally at various community events and at radio stations PWX and CMX (Radio Lavín) where she became a regular. It was during one of those broadcasts that Ernesto Lecuona, Cuba's most outstanding composer and pianist, became impressed by Margot's voice. Lecuona took her under his wing and in 1932 he included the young singer in his annual performances at Havana's Principal de la Comed
Cuban soprano and actress who started performing as a child and studied singing with the noted Italian mezzo Tina Farelli at her Bovi-Farelli Academia Filarmónica Italiana in Havana in the 1920's.
By 1930, Margot was good enough to sing professionally at various community events and at radio stations PWX and CMX (Radio Lavín) where she became a regular. It was during one of those broadcasts that Ernesto Lecuona, Cuba's most outstanding composer and pianist, became impressed by Margot's voice. Lecuona took her under his wing and in 1932 he included the young singer in his annual performances at Havana's Principal de la Comedia Theater.
It was an auspicious theatrical debut since Margot performed various characters from Lecuona's own zarzuelas and the public rewarded her with standing ovations. A star had been born and from then on Margot worked constantly with her mentor who guided her in the interpretation of some of his more popular compositions. The public was particularly appreciative of Margot's rendering of Cuban musical genres such as the "guaracha", "son", "son montuno", and most especially, the "pregón", a genre in which she excelled. A "pregón" titled "El frutero" written by Lecuona, became Margot's signature song.
In 1934, Lecuona took Margot with him to Mexico for his annual lyrical repertoire concerts. In Mexico City her success was such that when Lecuona returned to Cuba, Margot stayed for two years singing as a solo act at the Politeama and Fábregas theaters, as well as guest starring in the Joaquín Pardavé and Agustín Lara music productions. She was also a big hit singing at XEW, Mexico's most powerful radio station, and at the plush El Retiro night club.
When Margot returned to Cuba she continued singing in theaters and radio stations when film producers at Películas Cibanas S.A. offered her a deal to star in six films. Unfortunately only four films were finalized before the production company was dissolved. Undaunted, Margot accepted a contract to costar with Mario Moreno "Cantinflas" in a stage musical at the Follies in Mexico City. The show ran for almost two years and when it ended, Margot went on tour throughout Mexico. On her return to Mexico City she worked again at XEW Radio and was a sell out attraction at El Patio night club.
Margot returned to Cuba to work for RHC-Cadena Azul, the most popular radio station in Cuba, and also toured various cities in the island. It was in the city of Cienfuegos, where she found true love in the person of Wilfredo Fernández Villa, a local physician. The couple married in 1942 and Margot decided to settle down and retire from show business. There was never a formal announcement but it was clear that Margot was now more interested in domestic life. She accepted to perform only in special events like the Tribute to Cuban composers Moisés Simons, Ernesto Lecuona and Eliseo Grenet at Havana's Auditorium in 1943. That was one of her last appearances which became less and less frequent until she vanished completely from the public eye.
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