By the middle 40s, many artists who had been young promises five years before were reaching their artistic plenitude. They were leading different orchestras, which adopted diverse temperamental shades, although they were all orientated towards the more evolved styles. Francini-Pontier’s orchestra was one of the most representative exponents of that generation of directors. Very soon, this group was compared with the most recognised orchestras of the time. They opened renewing paths in Buenos Aires music, and they left us some recordings that are part of tango’s golden years history. Some of them include “A los amigos” (“For the friends”), “Arrabal”, “Lo que vendrá” (“What may come”) and a majestic version of “Boedo”. Something to remark is the importance that singers always had in this orchestra. Some of the most popular were Raúl Berón, Roberto Rufino, Julio Sosa and Alberto Podestá. Francini and Pontier shared the direction of this orchestra for ten years, after which they separated to continue their careers in different ways. This way tango gained two interpretative styles, and each one of them was due to the different personalities the directors had. While Armando Pontier continued his career with most of the musicians from the orchestra; Enrique Francini renewed his group, incorporating to his new formation some musicians, such as pianist Juan José Paz, first bandoneon Julio Ahumada, and contrabass player Rafael Del Bagno.