On that island located in the middle of the Río de la Plata river, halfway between Argentina and Uruguay, she completed her grade school education and at 17, returned to Buenos Aires and began working as a seamstress in a shirt factory and in a fashion house.

At a family party that she went to with Delia Rodríguez, who at that moment was a well-known singer, she met Enrique Pedro Delfino accompanying everyone who wanted to sing on the piano.

Maizani sang and left such an impression that the pianist introduced her to the theater business owner Pascual Carcavallo who in turn heard her and hired her.

In the summer she joined the brothers Leopoldo y Tomás Simari company in the Smart Theater with the piece "Ma-chi-fu" by César Bourell and in 1924 she worked on "Cristóbal Colón en la Facultad de Medicina" (Christopher Columbus in the Medical School) with Florencio Parravicini, famous for the ad-libs ("morcillas" (blood sausage) in theater jargon of the time) that he introduced and varied in each performance.

That season, Maizani debuted pieces by José Bohr, "Pero hay una melena" and "Cascabel cascabelito", and began to record with the Francisco Canaro orchestra.

In 1925 she worked in the San Martín theater in the company headed by Héctor and Camila Quiroga, premiering two tangos that later became popular "Silbando" (Whistling) and "Organito de la tarde" (Little Organ in the Afternoon).

[4] Upon returning to her country, Maizani found that in her two-year absence, new female singers had emerged and, in many cases, were launched by frequent contests that were often organized by radio stations.

She did, however, make some recordings, help fundraise for the victims of the earthquake of 1944 in San Juan by offering concerts, acted on Radio Argentina, and toured through the interior of Chile, Peru, Ecuador and Colombia, although she was no longer as famous as she used to be.

In November 1962 by the initiative of Dorita Davis, a festival was made in her celebration at the Astral Theater, in which she sang in front of a crowd that welcomed and applauded her enthusiastically.

Later, Azucena had a relationship with Rodolfo José María Caffaro, who began his career as a singer under the pseudonym Ricardo Colombres, but it was later discovered that he cheated on her, and in 1936 he committed suicide.

She also composed, in collaboration with Oreste Cúfaro and Manuel Romero the tango La canción de Buenos Aires, which was recorded by Carlos Gardel, a friend.

Other works include the waltz Pensando en ti with verses by Celedonio Flores; Decí que sí, a famous ranchera that she did with Cúfaro and Alberto Pidemunt; the milongas Adonde están los varones; Por qué se fue?

From 1923 to 1926, Azucena recorded with the Francisco Canaro orchestra, and later with Enrique Pedro Delfino at the piano and Manual Parada on the guitar, in both cases for the company Orión.