The first piece that was rehearsed was "Buenos Aires", the song that was to serve as a signature. In front of an orchestra of that size, Gardel fearful that he would meddle too much and thus hindered his work as an interpreter, he listened to the accompaniment with great attention and some suspicion, while he sang the lyrics in a low voice. She would not tolerate anything getting in the way of her singing, and from time to time she cast angry glances in the direction of the musicians. It was obvious that the artist considered the orchestra as the opposition group... and dealing with this gang of musicians was no easy task. He was used to singing with guitars, which accompanied the singer in the simplest terms, sometimes naive, entirely subservient to the artist's fantasy or whim. Until then, Gardel had never sung with an orchestra of thirty teachers, like the one he was facing that afternoon, and very rarely with any orchestra, in which case the orchestral accompaniment had always been just a timid, timid murmur, reducing itself to filling the gaps in the melody, sometimes with true instrumental virtuosity, but generally with dull, insubstantial chatter.