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Amor

Acknowledged as the best mestre-sala ever, Amor’s participation in the samba scene was important. As an interpreter, he was, as well as Mano Unói, the first ever to record pontos de macumba (music of dark sorcery rituals), in 1930. Like a composer, his samba “Apanhando Papel” (with Ubiratã Silva) was documented with achievement by Francisco Alves in the Carnival of 1931. In the same 12 months, his samba “Não Quero Teu Amor” was documented from the Conjunto Africano. Another year he previously his biggest strike, the marchinha “Gegê” (with Eduardo Souto), documented for the Carnival of 1932 by Jaime Vogeler. He also experienced great success using the marcha junina “Pula a Fogueira,” created in 1934 with João Dornas Filho. Additional compositions of much less commercial success had been the samba “Tempo Será,” “Vou-me Regenerar,” as well as the partido-alto “Tentação perform Samba” (1933). Like a dancer, he worked well in the revue theatre in Dança de Velho (1916). Talking about the off-commercial circuit, his name was well known as percussionist and composer in the rodas de samba (samba get-togethers) of the town. Amor relocated to Rio de Janeiro along with his family members at six. Nicknamed Amor since his child years, he participated in the creation from the Carnival parades, having been an associate from the pioneering ranchos Dois de Ouro (where he was the porta-machado) and Concha de Ouro. Becoming area of the substantial migratory motion that departed from Bahia at risk of Rio, which finished up highly influencing the tradition of Rio, he became acquainted with the great titles of samba when he was still a kid, learning from their website. With Hilário Jovino Ferreira, he discovered the choreography from the ranchos’ mestres-sala, taking part in that capability in the ranchos Flor de Abacate, Quem Fala de Nós Tem Paixão, and Reinado de Siva, amongst others, between 1917 and 1921. He was also a pioneer from the samba institutions, having been an associate from the initial board from the Association from the Samba Institutions in 1934 and movie director from the samba college Fale Quem Quiser. In 1940, he was elected Cidadão Samba (Resident Samba) by vote.

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