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Otília Amorim

Her performing debut is at 1910, in Alberto Botelho’s film Vida carry out Barão carry out Rio Branco. Within the next season, he proved helpful as chorister in the revue Peço a Palavra (Teatro Carlos Gomes, Rio). Carrying on to function in the movie theater, she visited European countries in 1913, coming back within the next season. She toured the northeast in 1916 using the Luís Galhardo Business. In 1918, she acted in the burletta Flor de Catumbi. In the next season, she performed in two movies, Alma Sertaneja and Ubirajara, both by Luís de Barros. In 1920, she have scored a carnival strike using the marcha “Pois Não” (Eduardo Souto/Filomeno Ribeiro), shown by her in the revue Gato, Baeta, Carapicu. In 1922, she shaped her very own theatrical company, executing in Rio de Janeiro, São Paulo, and Rio Grande perform Sul. She shown the marcha “Zizinha” (José Francisco de Freitas) in the 1925 revue Se a Moda Pega (music by Henrique Vogeler). In 1928, she sang Sinhô’s samba “Que Vale a Nota Sem a Mulher?” in the revue O Que European union Quero É Nota. Her initial album emerged in Dec 1930 (Victor), using the samba “Desgraça Pouca É Bobagem” (J. Aimberê), as well as the marcha “Vou Te Levar” (Plínio J. d’Épiro/V. de Lima). She documented many albums for Victor in 1931, included in this two J. Aimberê originals (the samba “European union Sou Feliz” as well as the samba-batuque “Nego Bamba”). In August 1931, she relocated to Columbia where she documented just one recording, her last one, with “Napoleão” (Joubert de Carvalho) and “Óia O Ganzé” (Artur Braga). In the same 12 months, she participated in the film Campeão de Futebol (Genésio Arruda). She worked well intensely like a theatre actress through the entire 10 years. In the past due ’30s she became a Rádio Record celebrity and vocalist. In 1963, she received a merit medal from your Brazilian Association of Theatrical Critics on her behalf are an actress. A few of her recordings had been reissued in the Revivendo LP Sempre Sonhando (with Alda Verona, Gastão Formenti, and Raul Roulien).

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