Alaíde Costa can be an essential interpreter who had great success in the ’60s. Her obstinate adherence to her sensitive style, especially suitable for the delicate Brazilian genre modinha, produced her be placed aside with the ethnic sector and she continued to be forgotten with the public until her reappearance in Milton Nascimento’s Clube da Esquina. She’s been executing and documenting erratically, but often with a higher regular of quality in her thick interpretations. Being a composer, she had written music and lyrics for Afinal, and got partnerships with a number of important creators, such as for example Vinícius de Moraes and Geraldo Vandré. She begun to sing in juvenile radio displays with 13, she earned a contest marketed by Paulo Gracindo on his present Seqüência G3 at Radio Tupi RJ, as the very best young singer. Within the next season, she participated in the Arraia Miúda present, by Renato Murce, in the essential Radio Nacional. From 1952 on, she took component in the newbie displays A Hora perform Pato and Pescando Estrelas, the last mentioned shown by Ary Barroso by Rádio Clube perform Brasil. Her initial stage displays were on the Dance Avenida, a favorite gafieira, where in fact the essential Brazilian music design had been coined in the same place where in fact the careers of several essential performers like Ângela Maria and Elizeth Cardoso started. She was after that employed by Rádio Clube and in 1957, she documented her 1st 78 rpm, Tarde Demais, and was granted as Revelation of the entire year for the record. In the same 12 months, Costa released another 78 rpm with “Conselhos” and “Domingo de Amor” (also through Odeon). João Gilberto noticed her and attempted to appeal to her towards the bossa nova motion that was underway. He been successful in having her included the bossas “Chora tua Tristeza,” “Sem Você,” “Estrada Branca,” “Lobo Bobo,” and “Minha Saudade” on her behalf starting LP (Alaíde Canta Suavemente) at RCA, the label to which she relocated in 1958. In those days, she was occupied performing reside in Rio when she got a significant break in the 1960 Event Nacional da Bossa Nova in São Paulo. The achievement yielded her employing as co-host on the TV Tupi display with Geraldo Vandré and Carlos Lyra. She wedded two years later on and relocated to São Paulo, where she was definitively consecrated in 1964 around the historical display O Fino da Bossa in the Teatro Paramount. Her demonstration of the track “Onde Está Você” (Oscar Castro-Neves/Luverci Fiorini) was therefore acclaimed it yielded her a two-year agreement with Television Record. In the maximum of achievement, she opened up a season in the Santa Rosa Theatre in Rio, participated in the I Event Universitário for Television Tupi, and performed Renaissance tunes at the display Alaíde alaúde in the solemn Teatro Municipal in the town of São Paulo, with conductor Diogo Pacheco. In 1966, her hearing complications and too little fascination with her delicate design made her decelerate her artistic profession. She would just return to take part in Milton Nascimento’s Clube da Esquina’s record. The tune “Me Deixa em Paz” became popular and propelled the offering of that record. She also performed with Nascimento on the Teatro Teresa Raquel and Sala Cecília Meireles in Rio. In 1972, she came back to the documenting periods with two singles and, in the next season, another LP (Alaíde Costa & Oscar Castro-Neves). She documented another one in 1974 and yet another the following 12 months. In 1976, she documented the LP Coração for Odeon. In 1982, Costa documented Águas Vivas separately and in 1988, she documented Amiga de Verdade with a number of important visitor interpreters such as for example Milton Nascimento and Paulinho da Viola. In 1991, she opened up two displays of national appearance, Coração Violão (with Paulinho Nogueira) and Alaíde Costa canta Tom Jobim. In 1994, she performed followed by traditional pianist João Carlos Assis Brasil within a live documented concert released by Movieplay. Another season, as well as João Carlos, she documented Alaíde Costa e João Carlos Assis Brasil (WEA), that was released in Brazil and France. In 1997, she performed in the ethnic task Rumos Musicais, in São Paulo. BMG reissued a compilation of her initial three LPs.