Ciro Monteiro was among the best samba singers ever. As an novice vocalist, Monteiro was asked by Sílvio Caldas to displace Luís Barbosa in his duo in 1933. They performed in the Programa Casé. As Monteiro needed to break his duo along with his sibling, the novice Careno, he quickly regretted your choice and asked Caldas to dismiss him. However in 1934, Monteiro came back to radio, this time around to Mayrink Veiga. In 1936, he was advertised to the very best cast of the home, as well as Carmen Miranda, Francisco Alves, Noel Rosa, Aurora Miranda, Luís Barbosa, Patrício Teixeira, Mário Reis, among others. In 1937, Monteiro remaining Mayrink Veiga and became a free of charge lancer, performing in every radio stations. He previously his big strike after that with “Se Acaso Você Chegasse” (Lupicínio Rodrigues/Felisberto Martins), quickly documented (Victor, 1938) with tremendous success. He came back to Mayrink Veiga and wedded Odete Amaral. Within the same yr, he became an effective composer, having Dias da Cruz as a normal partner. Their biggest strike was “Madame Fulano de Tal.” He previously achievement in 1939 with “Mania da Falecida” (Ataulfo Alves/Wilson Batista), “Que Vida É Essa?” (Nássara/Roberto Martins); in 1940, with “Beijo Na Boca” (Ciro de Souza/Garcez), “Bonito Papel, Hem?” (Nássara/Dunga), “Tá Maluca?” (Wilson Batista/Germano Augusto); in 1941, with “O Bonde de São Januário” (Ataulfo Alves/Wilson Batista), which gained the Carnival competition of that calendar year, “Operating-system Quindins de Laiá” (Ary Barroso), and “A Mulher Que European union Gosto” (Wilson Batista/Ciro de Sousa); in 1942 with “Regra Perform Bom Viver” (Estanislau Silva/Humberto Carvalho), “Fonte Perform Amor” (Sinval Silva), “Botõsera De Laranjeira” (Pedro Caetano); and in 1944, “Falsa Baiana” (Geraldo Pereira), one of is own biggest strikes. He continuing at Mayrink Veiga until 1949, when he departed for Rádio Nacional. In 1950, he came back to the prior radio train station. In 1953, he previously achievement with “Escurinho” (Geraldo Pereira). In 1956, he worked well as an acting professional for the very first and last amount of time in his existence, in the part of Apolo, the daddy in Orfeu da Conceição (Vinícius de Moraes), the play that could soon later become adapted to movie theater, becoming filmed by Marcel Camus, experiencing international achievement. In 1961, he earned all honours of the entire year along with his LP Senhor Samba, where he shown four originals. He came back to Mayrink Veiga and started to perform in tv. He participated, amongst others, on Elizeth Cardoso’s Television show Bossaudade, documented and released as an LP by Copacabana. He documented Senhor Samba, Vol. 2 and opened up the display Telecoteco, Opus No. 1 with great achievement, having documented its songs inside a homonymous LP. In 1968, he documented the LP Mudando de Conversa with Clementina de Jesus and Nora Ney, following the effective show using the same name. He documented De Leve in 1971 with Jorge Veiga. His recordings with Toquinho and Vinícius de Moraes (“Que Martírio!,” by Haroldo Lobo/Milton de Oliveira, and his “Você Errou”) had been released for the LP Toquinho, Vinícius e Amigos (1974).
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|Este Mundo É um Pandeiro||1947|
|Fantasma Por Acaso||1946|
|Segura Esta Mulher||1946|
|Não Adianta Chorar||1945|
|Astros em Desfile||1942||Short|
|Samba||1965||President of Salgueiro Samba School (uncredited)|
|Gimba, Presidente dos Valentes||1963|
|Esse Rio Que Eu Amo||1962||segment "Balbino, o Homem do Mar"|
|Todos Por Um||1950|
|É com Este Que Eu Vou||1948|
|Poeira de Estrelas||1948|
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