The family had thought of her as an office professional. She had more than enough conditions: she was studious, intelligent, with very good spelling, beautiful and elegant handwriting. She had also always been orderly, very demanding with details, polite, disciplined, persevering... To all this we had to add beautiful green eyes, a beautiful smile and an impressive figure, enhanced by the good taste in dressing and combing her thick hair. The idea, then, was that as soon as he finished High School\u2014now Basic Secondary School\u2014he would begin secretarial studies.<\/p>\n
But, in practice, the way was different.<\/p>\n
Apparently the family of little Rosal\u00eda Palet Bonav\u00eda had not noticed her love of art. She was always a lonely girl who enjoyed, on the radio or on the domestic record player, the voices of important singing figures of her time. Through the maternal line there was a certain relationship with the stage: a brother of the grandmother had been a dramatic actor; a cousin, an opera singer; and the maternal grandfather, theatrical entrepreneur.<\/p>\n
Nor had they taken into account that, when she played with her friends, the girl did not occupy the role of mother or aunt, seamstress or teacher. No, she was always the one artist<\/em>.<\/p>\n As if it were a gift of 15, the young woman asked her family to authorize her to appear as a contestant in The supreme court of art<\/em>, one of the most listened to spaces on Cuban radio at the end of the 1930s, dedicated to the search for new talent. Today it is considered that that "court" was the most famous contest on Spanish-speaking radio at the time, in which figures emerged who would later be great artists not only in Cuba.<\/p>\n When he signed up to participate in the famous talent show,<\/em> decided that her given names and surnames were not the most appropriate for an artist. Then she turned Rosal\u00eda into Rosita and assumed the surname of the man who had raised her from a very young age, and who had been like a biological father to her: Forn\u00e9s..<\/em> That was how on September 13, 1938, when it was announced in the supreme court of art,<\/em> For the first time, one of the names that have been mentioned the most in cinema, radio, television, cabaret, musical and dramatic theater reached the Cuban public for the first time... at home, at work, on a bus, on a wedding, in a queue or in the waiting room of a medical consultation, throughout Cuba for more than 80 years: Rosita Forn\u00e9s.<\/p>\n He was born in 1923, in New York. She was only three years old when her mother, Guadalupe Bonav\u00eda from Madrid \u2014already divorced from Santiago Palet\u2014, brought her to Cuba, where, once settled, she married the Valencian Jos\u00e9 Forn\u00e9s for a second time. With them little Rosal\u00eda traveled to Spain in 1933, to try to settle down. But the start of the Civil War precipitated her return to the island. During the voyage, the daughter of the Forn\u00e9s-Bonav\u00edas would make her first public appearance, aboard the transatlantic Manuel Arnus<\/em>, where he sang the tango for the other passengers silence in the night<\/em>. The year was 1936. No one imagined that just two years later the long and successful career of that girl would begin.<\/p>\n Rosita Forn\u00e9s' career began with an intensity that would always be a sign of her passing through theatrical stages, nightclub tracks, television and film sets, and radio studios.<\/p>\n Between 1940 and 1943 he acted in some 20 productions of zarzuelas, operettas and dramatic theater. To this must be added his participation in skits and magazines. Less than a year after his debut on the scene, he the merry widow<\/em>, the operetta that consecrated her throughout her long artistic life and that, from her first performance, showed that, more than an actress or a singer, she was a true showgirl<\/em>.<\/p>\n He arrived at the cinema in 1939 with a dangerous adventure<\/em>, directed by nothing more and nothing less than Ram\u00f3n Pe\u00f3n, one of the most outstanding founders of Cuban cinematography. In 1942 he repeated the experience, this time with the help of another of the great founders of the seventh art in Cuba, Ernesto Caparr\u00f3s, in the film music romance<\/em>.<\/p>\nThe first steps<\/strong><\/h4>\n