Mário Pinheiro recorded more albums than some other vocalist in his period, from 1902 to 1919. As well as Cadete, Baiano, Nozinho, and Eduardo das Neves, Pinheiro created the band of the 1st professionals from the documenting business in Brazil. He performed (also as an opera bass) in the U.S. and Italy (in the Alla Scalla theatre, Milano). Of humble roots, Pinheiro escaped from your home at eight. He debuted his creative career like a clown inside a sordid circus of Piedade (a Rio working-class suburb), becoming booed. He became a vocalist documenting specifically for Fred Figner’s Casa Edison. Presenting himself as “Mário” in those albums, he became popular throughout Brazil. Employed from the American RCA Victor, Pinheiro spent a time of year in the U.S. and visited Italy, where he analyzed chant. He came back to Brazil like a bass vocalist inside a lyrical organization and participated from the inauguration from the Teatro Municipal (Rio) at July 27, 1909, performing the Tapir personality from the Delgado de Carvalho opera Moema. He performed the part of Sparafucile in Verdi’s Rigoletto often and of Colline in Puccini’s La Bohème. In 1909, using the popular soprano Zola Amaro, he performed in Carlos Gomes’s opera Condor. Among his strikes, the canção “Ai, Maria” (E. di Capua, edition by Russo), the desafio “Ao Som da Viola,” the tango “O Boêmio” (Anacleto de Medeiros/Catulo da Paixão Cearense), the canção “A Brisa Dizia ? Rosa,” the duet “Canção Mineira,” the modinha “A Casa Branca da Serra” (Miguel Egídio Pestana/Guimarãsera Passos), and many more.