Luís Peixoto

Probably one of the most important writers from the Revue Theater, for 45 years, Luís Peixoto wrote a lot more than 110 takes on in several styles, working with the best titles of several decades, from Chiquinha Gonzaga to Carmen Miranda, Ary Barroso, and Aracy Cortes, amongst others. Many of his compositions became all-time classics. He was drawn to and experienced achievements in a number of different artistic types of manifestation: poetry, painting, theatre, and sculpture. He opened up in theatre in 1912 with Forrobodó (with music by Chiquinha Gonzaga), which experienced 1,500 shows. Some other effective musicals: “Morro da Favela,” “Flor de Catumbi,” “Dança de Velho,” “República perform Itapiru,” “Três Pancadas,” “Meia Noite e Trinta,” “Vai Dar Que Falar” (which released Carmen Miranda in the stage in 1930), and “Secos e Molhados,” amongst others, implemented. Peixoto studied movie theater in Italy, Spain, Portugal, Germany, Holland, Belgium, and France. In Paris, France, he caused Lugne Po staging has. Being a lyricist, he composed “Maria” (documented by Sílvio Caldas in 1932), “Por Causa Desta Cabocla” (documented by Sílvio Caldas in 1935), “Na Batucada da Vida” (documented by Carmen Miranda in 1934) (with Ary Barroso), “Sussuarana” (documented by Gastão Formenti in 1927), “Casa de Caboclo” (documented by Gastão Formenti in 1928), “Nosso Tempo no Colégio,” “Azulão” (documented by Januário de Oliveira in 1929), “Estrela Pequenina,” “Minha Terra Tem,” “Tenho Uma Raiva de Você,” “Rosinha Seguiu Viagem” (with Hekel Tavares), “Na Paz perform Senhor,” “Isso é Brasil” (documented by Deo in 1947), “O Docinho de Laiá” (documented by Maria da Graça in 1947) (with José Maria de Abreu), “Folga, Nego” (documented by Linda Batista in 1942), “Voltei pro Morro” (documented by Carmen Miranda in 1940), “Disseram Que Voltei Americanizada” (documented by Carmen Miranda in 1940) (with Vicente Paiva), “O Que Foi Que European union Fiz” (with Augusto Vasseur), “Preto e Branco” (documented by Aracy Cortes in 1930, with Augusto Vasseur/Marques Porto), “Casa de Sopapo” (with Custódio Mesquita, documented by Nelson Gonçalves in 1944), and among the great classics of Brazilian well-known music, “Ai, Loiô” (provided in the movie theater in 1928 by Aracy Cortes and documented in 1929; this is actually the song that released the samba-canção design, with Henrique Vogeler and, probably, Marques Porto), among numerous others.