Though Olegário Mariano’s contributions to Brazilian culture were of tremendous importance in the fields of poetry and literature; he was also the lyricist of some essential tunes. 42 of his tunes had been recorded by popular performers and he remaining other songs released. He also published the libretto from the operetta Mariúsa (music by Joubert de Carvalho). His most regular partner was Joubert de Carvalho; the duo offers written 24 tunes, 19 which had been published and documented, and many of these are still well-known until today. “Cai, Cai, Balão” and “Tutu Marambá” (documented by Gastão Formenti, who also documented “Hula,” “De Papo Pro Ar,” and “Zíngara”) remain component of Brazilian youth. His poem “Seu Zé Raimundo” acquired music by Jaime Ovalle and was documented by Patrício Teixeira (1926). 2 yrs afterwards, Hekel Tavares place music to many others poems of his (like “Sapo Cururu,” documented by Francisco Alves in 1929). His lyrics also acquired music by Ary Barroso (“Tu Qué Tomá Meu House,” documented by Araci Cortes in 1929), Gastão Lamounier (“Arrependimento,” documented by Gastão Formenti in 1929, “Reminiscência” and “Suave Recordação”). Hekel Tavares as well as the pioneer from the Brazilian theater Procópio Ferreira declaimed a few of his poems in a number of records. Other well-known artists that documented the Joubert/Mariano duo had been Francisco Alves (“Dor De Recordar,” 1929) and Carmen Miranda (“Absolutamente,” “Se Você Quer,” and “Bom-dia, Meu Amor,” between 1931 and 1933). At age group eight he found Rio de Janeiro along with his parents. Before he was 13, he had been composing poetry. At 12, he released his first reserve, Angelus. He’d also continue to create Visõha sido De Moço (1911), Sonetos (1912), Evangelho da Sombra e perform Silêncio (1913), Canto da Minha Terra (1913), Água Corrente (1917), Últimas Cigarras (1920), Castelos Na Areia (1922), and Cidade Maravilhosa (1923). In 1926, he was elected for the Academia Brasileira de Letras (Brazilian Books Academy); from then on, he released Bataclan (1927), Destino (1931), Poemas de Amor e de Saudade (1932), Teatro (1932), Coletânea de Tradutores (1932), Poesias Escolhidas (1932), O Amor Na Poesia Brasileira (1933), Vida, Caixa de Brinquedos (1933), O Enamorado da Vida (1937), Da Cdeira No. 21 (1938), Abolição Da Escravatura E Operating-system Homens Perform Norte (1939), Em Louvor Da Língua Portuguesa (1940), A Vida Que Já Vivi (1945), Quando Vem Baixando O Crepúsculo (1945), Cantigas De Encurtar Caminho (1949), Tangará Conta Histórias (1953), having acquired your body of his functions published beneath the name of Toda Uma Vida De Poesia (1958). He was also congressman in 1934, secretary from the Brazilian embassy at Bolivia, plenipotentiary minister at Portugal, and ambassador of Brazil at Portugal, among a great many other responsibilities and distinctions.