He arrived in our country from his Italian hometown in 1909 and settled with his family in Buenos Aires, in the neighborhood of Balvanera.

With other kids, he looked after the herd of horses that pulled carts and flat wagons while the drivers ate at the cheap restaurants near the market.

He began his artistic career very early in the backyard of the restaurant Damato on Matheu and Victoria. There, he used to meet with the owner’s sons and the kids of his gang, and they organized tango sessions where he was the singer. One day, a singing instructor named Ralbis came to have lunch and wanted to know who that singer was. He suggested he sing at a cinema theater during the intermission shows, accompanied by piano, violin, and drums. The beginner was doubtful, but his friends encouraged him. He wore brand-new long trousers and debuted at the 2º Coliseo cinema theater on Bernardo de Irigoyen and Venezuela. The owners of the theater, José and Antonio Galvano, were very enthusiastic and placed a giant photo of Maida, the kid in the hall.

Roberto Maida’s association with Canaro began in November 1934.

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He was born in Montevideo, Uruguay.

He had two brothers musicians: Ernesto, a bandoneon player like him, and Fioravanti, a pianist, who succeeded in Europe.

At age twelve he started his studies of piano playing and music reading.

He changed the piano for the accordion, an instrument that interested him very much.

Then he traveled to Buenos Aires and bought a bandoneon.

In 1932 began a new stage associated with Francisco Canaro. He went on with this until his retirement.

Minotto was a great technician of the bandoneon and an eternal studious player of his instrument.

For many years associated —with some breaks— to the Francisco Canaro’s orchestra to which he always contributed with his playing to the disciplines of its leader, he was a solo player, for his close friends, of melodic themes performed with high sound quality and a perfect fingering.

He was at the same level as the greats of his time.

Nearly fifty years of honest work in the service of Tango by a great artist, a very important bandoneon player, deserve the constant memory and the adequate diffusion of his talent.