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Silvino Neto

Silvino Neto begun to dedicate himself to music in 1931, performing tangos on the Rádio Educadora Paulista. He performed on many radios in the town of São Paulo beneath the pseudonym Pablo Gonzales. Neto begun to compose in 1932, specializing himself in Brazilian music being a singer. Twelve months later, he previously already written many valses, like “Uma Saudade a Mais… Uma Esperança A Menos,” “Que Importa Em fun??o de Nós Dois a Despedida” (both documented afterwards by Orlando Silva with great achievement), “Valsa Dos Namorados,” and “Adeus… Cinco Letras Que Choram” (both strikes in Francisco Alves’s recordings), amongst others. In 1934, he had been performing with many orchestras: Osvaldo Borba’s, Gaó’s, Martinez Grau’s, Eduardo Patané’s, among others. In that calendar year, with Alvarenga e Ranchinho, he produced the trio Operating-system Mosqueteiros da Garoa, which got achievement. In 1936, Neto completed his profession as an enchanting vocalist. He was operating in the Rádio São Paulo, but shifted to Rio in 1937, after his father’s demise. On January 4, 1938, he opened up in the Rádio Nacional as humorist, starting some humor shows, constantly with enormous achievement. In 1940, he documented “Senhorita Pimpinela,” and six years later on, “Entrou Areia” and “Essa é Fina.” He participated in a number of effective revues, like Fogo Zero Pandeiro (1945, with Dercy Gonçalves), Confeti Na Boca (1948, with Dercy Gonçalves), Passo Da Girafa (1949, with Mara Rúbia), “A Borracha é Nossa” (1949, with Eros Volúsia), “Não Vou Zero Golpe,” and “Bonde perform Catete” (both in 1955). In 1950, he shown himself as applicant for councilman from the after that Federal Area (Rio de Janeiro), becoming elected to begin with. In 1953, he came back to radio, carrying on in the Mayrink Veiga until 1956. Then stopped his trips through Brazil and continuing to execute sporadically in radio and Television. In 1955, his tracks “Sóror Maria” and “Cristo Redentor” had been documented by Orlando Silva; “Fantasma Da Felicidade” by Ângela Maria; for the Carnival of 1961, Dircinha Batista documented “O Rio Será Sempre O Rio” and “Saudade Da Saudade,” Anestésio documented “A Fome É Nossa,” and Nuno Roland documented “Amanhã Chorarei Por Mim.”

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