Probably one of the most popular performers from the ’40s and ’50s in Brazil, Dalva de Oliveira is known as a most expressive interpreter of Brazilian popular music. Her biggest strikes are “Olhos Verdes” (Vicente Paiva), “Ave Maria” (Vicente Paiva/Jaime Redondo), “Tudo Acabado” (J. Piedade/Oswaldo Martins), “Kalu” (Humberto Teixeira), “Fim de Comédia” (Ataulfo Alves), and “Bandeira Branca” (Maximum Nunes/Laércio Alves). As an associate from the Trio de Ouro, Oliveira experienced three big strikes: “Praça Onze” (Herivelto Martins/Grande Otelo, 1942), “Ave Maria no Morro” (Herivelto Martins, 1943), and “Segredo” (Herivelto Martins/Marino Pinto, 1947). She also experienced success in movies with Berlim Na Batucada (1944), Caídos perform Céu (1944), Maria da Praia (1951), Milagre de Amor (1951) and Tudo Azul (1952). Her worldwide career included shows in Portugal, Spain, Britain, along with other countries. As a kid, Oliveira utilized to play in the serestas inhabited by her father’s novice group. At eight she dropped her dad, and her mom relocated to São Paulo with her three daughters. Long lasting a life filled with financial hardships, Oliveira was noticed by Antônio Zovetti and became a chorist in his group in 1933, carrying out in several north Brazilian cities before group was disbanded in Belo Horizonte, Minas Gerais, because of Zovetti’s disease. After an audition on the Rádio Mineira, she got a normal job there being a vocalist, when she followed the stage name Dalva de Oliveira. In 1934 her family members transferred to Rio de Janeiro. Utilized as an employee in a stock, she was observed by its owner, Milonguita, among the directors from the Rádio Ipanema, who employed her for his firm. Having done a number of other r / c (performing in duo with Noel Rosa on the Rádio Cruzeiro perform Sul), she also proved helpful as actress in the Casa perform Caboclo, with Alvarenga e Ranchinho, Jararaca e Ratinho, along with other artists. Within the same period she worked well in Jaime Costa’s operettas in the Teatro Glória. In 1936, employed in a theatre within the São Cristóvão borough, she fulfilled Herivelto Martins, who performed with Nilo Chagas within the Dupla Preto e Branco. After getting familiar with Martins, who was simply buying female tone of voice for different tests with fresh harmonizations, Oliveira became a member of the Dupla Preto e Branco, developing the Trio de Ouro, that was known as (for five years) Dalva de Oliveira e a Dupla Preto e Branco. Having wedded Martins, she experienced two sons with him, the vocalist Pery Ribeiro and it maker Ubiratã Ribeiro. In 1940 she documented with Francisco Alves the samba “Brasil” (Benedito Lacerda/Aldo Cabral) and “Valsa da Despedida” (Robert Burns up). She also became a normal attraction in the Cassino da Urca, where in fact the biggest stars of that time period were featured, before casinos were shut by decree of Chief executive Dutra in 1946. At that time her relationship was sinking, nonetheless it was just in 1949 the couple split up throughout a tour using the Trio de Ouro through Venezuela. Oliveira remained in that nation carrying out using the conductor Vicente Paiva for another yr. Having came back to Brazil in 1950, she was rejected from the Odeon record label, which didn’t have confidence in her single profession. Vicente Paiva, who was simply among the A&R directors of the business, put his work at stake gambling on her achievement. Actually, “Tudo Acabado” (J. Piedade/Oswaldo Martins) became popular, starting a musical struggle with ex-husband Herivelto Martins, where they exchanged shared accusations for the failing of their relationship through music. This musical polemic experienced its high factors with “Tudo Acabado,” “Que Será,” and “Errei Sim” (1950). In 1951 she experienced success using the samba-canção “Ave Maria” (Vicente Paiva/Jaime Redondo), the samba “Olhos Verdes” (Vicente Paiva), as well as the march “Zum-Zum” (Paulo Soledade/Fernando Lobo). For the reason that period she toured many times, executing in Uruguay, Argentina, Chile, Portugal, Spain, and Britain, where she sang at Queen Elizabeth II’s coronation party. At that event, she was associated with an orchestra conduced by Robert Inglis. Inglis and his orchestra documented, with Oliveira, a repertory of Brazilian music on many albums in London. (He previously his name modified for the Brazilian marketplace as Roberto Inglês.) In 1952 Oliveira had strikes using the baião “Kalu” (Humberto Teixeira) as well as the samba “Fim de Comédia” (Ataulfo Alves). For the reason that calendar year she was elected Rainha perform Rádio (Queen of Radio) and toured Argentina. Within the middle-’50s she resolved in Buenos Aires, Argentina, ultimately time for Brazil for creative periods, until her definitive returning in 1963. Having experienced a vehicle accident in 1965, she just restarted her profession in 1970, introducing another strike, the traditional marcha-rancho “Bandeira Branca” (Potential Nunes/Laércio Alves).