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Rosita Quintana (Buenos Aires, Argentina, July 16, 1925) is a Mexican actress, singer and composer of Argentine origin, with an extensive career developed mainly in Mexico, where she belongs to the time gold of Mexican cinema.
In cinema, she managed to become one of the highest-grossing actresses of the fifties. He alternated with a long list of famous actors, among them Tin Tan, Pedro Armendáriz, Luis Aguilar, Fernando Soler, Arturo de Córdova, Pedro Infante, Roberto Cañedo, Miguel Aceves Mejía, Joaquín Pardavé, El Piporro and Fernando Casanova. She starred Susana (1951), by Luis Buñuel, and musical films such as Serenata en México (1956) and Cuando México canta (1958). For his performances, he received prizes from Mexico, Argentina, Germany, Russia and Spain, and in 2016 the Mexican Academy of Arts and Cinematographic Sciences awarded him the Ariel de Oro for his career.
As a singer, she is remembered for her interpretations of rancheras, huapangos and festive songs, such as “Let’s go to the park, Céfira”, which was a great sales success in Latin America. In her recordings for RCA Records Víctor was accompanied by the Mariachi Vargas from Tecalitlán. In 1955, she won the Wurlitzer Prize for Best Ranchera Singer, and in 1965 she recorded several tangos in Argentina that were released on the album Charlemos, Buenos Aires.
She was born on July 16, 1925 in the neighborhood of Saavedra in the capital of Argentina, Buenos Aires, the daughter of Arturo Quintana and María Antonia Muñoz. As a girl she studied at María Auxiliadora’s nuns school, and thanks to the influence of her grandmother, Carmen Alonso, guitarist and tango performer, Rosita became interested in singing. She interpreted tangos in secret for her friends at school, and when the nuns discovered her, they expelled her, since the tangos were considered indecent and rude at that time. Despite this, she was not discouraged and her grandmother, the main promoter of her talent, was the one who gave her her first guitar and took her to a singing school.
Quintana made her debut at age 15 in a theater of her country’s magazine, as the lead singer of one of the most famous orchestras of the time – the Caro brothers’ orchestra – there was seen by the composer Rodolfo Sciamarella and the He invited to interpret his tangos at the Teatro Casino. From there, it started raining job offers. On occasion, Mexican singer Jorge Negrete toured South America, attended a performance by Rosita and invited her to Mexico, where he debuted at the famous “El Patio” Night Center in 1947, with such acceptance that he decided to stay in the country. Aztec.
She made her debut as an actress in 1948 with the film La Santa del barrio by director Chano Urueta, followed by small roles in other films such as: Ay Palillo no te rajes !. But it would not be until the following year that the public begins to identify her for her acting work thanks to her participation in 3 of the best films by Germán Valdés “Tin Tan”, Tender Zucchini, I am charro de levita and Do not defend me compadre in which she showed off her capacity for comedy, so much so that she is considered -together with Silvia Pinal- as the best female couple that the famous pachuco comedian had. The same year he meets the manager of Paramount Pictures studios, Sergio Kogan. Both fall in love and begin a long courtship that ends in marriage. With him he procreates his son Sergio.
Already consolidated as an actress, she acts under the orders of Julio Bracho in La absente (1950), together with Arturo de Córdova, Andrea Palma and Ramón Gay; under the orders of Luis Buñuel he works in Susana, carne y demonio (1950), with Fernando Soler and Víctor Manuel Mendoza, where his natural sensuality is exploited; and with Rogelio A. González he films El mil amores (1954) with Joaquín Pardavé and Pedro Infante, who at the time was at the height of his success. The ones mentioned are perhaps his best-known films, although the actor he worked with most often was Luis Aguilar, with whom he shared credits in nine films, including several rancheras comedies and a couple of heroic stories set in the Mexican revolution of the early twentieth century. . During the long years of her career, Rosita Quintana alternated her performances on the screen with her career as a singer and songwriter, signing with companies like RCA Victor and Musart and giving songs to singers such as Guadalupe Pineda, Angelica Maria and Maria de Lourdes. He also carried out a series of works in his homeland of birth.
The 60s was a decade of contrasts for the actress, as she managed to win the Pearl of the Bay of Biscay award at the San Sebastian International Film Festival as best actress for the movie The Eighth Hell (1964), but had to make a career break due to a car accident that kept her in a coma for several days, in addition to her ex-husband Sergio Kogan, who was taken care of by his sons Sergio and Paloma Guadalupe, the latter adopted. Her film career, although with pauses, continued until the end of the 90s, decade in which she ventured into television, being her most successful work in this field the personification of one of the villains of the televiewer La dueña, starring Angélica Rivera, Francisco Gattorno and Cynthia Klitbo Gamboa. It reappears in the cinema in 2005 with the film Club Euthanasia, the last recorded work of the actress who has always said: “I owe Mexico what I am”.
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