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Osvaldo Santiago

Successful author of the Fantastic Age of Brazilian song, Osvaldo Santiago had his songs documented by a number of the biggest names of the time. In 1923, Santiago released his 1st publication of poems, No Reino Azul das Estrelas. In the same yr, he had written his 1st lyrics, to get a Nelson Ferreira music, shown by Laís Areda inside a musical revue in Recife. In 1924, he founded the literary journal Rua Nova, which would last until 1929. In 1926, using the achievement of his second publication of poetry, Gritos perform Meu Silêncio, shifted to Rio de Janeiro, Brazil. His lyrics had been first documented in 1929 by Alda Verona (“Melodia de Aamor,” with music by Nelson Ferreira) on her behalf debut recording. The music was contained in the homonymous film by Lupe Velez. In 1930 he had written the lyrics for “Hino a João Pessoa” with music by Eduardo Souto, which got enormous achievement as Francisco Alves’ documenting. Alvinho documented “Bangalô” in 1931, that Santiago had written the music, providing Orestes Barbosa the chance to debut in the saving business like a lyricist. At exactly the same time, Santiago collaborated in the Carioca press, keeping a normal column in Clubão de Itararé’s O Malho. In 1935, Sílvio Caldas documented his valse “Há um Segredo em Teus Cabelos” (with Gastão Lamounier) and Gastão Formenti documented the march “Jóia Falsa.” In 1938, he composed some songs focused on launching the profession from the then-novice Carlos Galhardo with Paulo Barbosa, like “Cortina de Veludo,” “Italiana” (with José Maria de Abreu), “Madame Pompadour,” “Lenda Árabe,” “Torre de Marfim,” and “Tapete Persa,” amongst others. Acquiring daring liberties for all those times, the music renovated the intimate style. At exactly the same time, the duo composed Carnival strikes like “Lig-Lig-Lé” (documented by Castro Barbosa) and “Tirolesa” (documented by Dircinha Batista in 1938). With Benedito Lacerda, Osvaldo Santiago composed “Querido Advertisementão” (a huge Carnival strike in the Carmen Miranda documenting) as well as the marcha junina “Pedro, Antônio e João,” that was Dalva de Oliveira’s starting album as single vocalist. “Roleta da Vida” (with Muraro) was documented by Carlos Galhardo. Various other partners had been Carolina Cardoso de Meneses, Gastão Lamounier, and Roberto Martins. Francisco Alves documented his “European union Não Posso Ver Mulher,” a huge hit from the Carnival of 1941. From the next yr on, he became the largest authority in the united states on legal queries concerning royalties, having released several books that have been taken as referrals by the best authorities about them.

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