Home / Biography / Vincente Celestino

Vincente Celestino

Probably one of the most important and successful performers from the Golden Age group of Brazilian track, Vicente Celestino was also a composer and acting professional. He left out 131 78s with 265 tunes, ten singles, and 31 LPs, along with two movies. At eight, he had been performing in several Pastorinhas da Ladeira Viana. His 1st job was like a shoemaker in his father’s workshop. Then accepted some small jobs to greatly help his parents, who have been very poor. At exactly the same time, he honed his performing skills at celebrations and serenatas. In 1903, he sang in the children’s choir from the opera Carmen (Bizet). Noticed from the Italian tenor Enrico Caruso, he was asked to study performing in Italy, but wasn’t certified by his dad. His 1st public appearance is at 1912, in the group the Cartolas, representing the play Vida de Artista. Performing in a pub, he was observed by article writer Alvarenga Fonseca, who was simply the director from the Companhia de Teatro São José, possessed by Pascoal Segreto. Fonseca was impressed by him and asked him to become listed on the Companhia Nacional de Revistas, who performed in the São José. Celestino opened up on July 10, 1914, in Eustórgio Wanderley’s revue Chuá, Chuá (music by J. Ribas), becoming most applauded in his single of Santos Coelho/Domingos Correia’s “Flor perform Mal.” In 1916, he sang for the very first time in São Paulo, in the Teatro São José inside a organization work by Leopoldo Fróis usually. In the same 12 months, he acted in Porto Alegre and Pelotas, RS. His 1st record was also documented in 1916, with “Flor perform Mal” and “Operating-system Que Sofrem” (Alfredo Gama/Armando Oliveira), for Casa Edison (Odeon). Another album, also for the reason that season, got the modinhas “Perdão de um Coração” and “Feiticeira.” He released “Urubu Subiu,” a duet with Baiano, for the Carnival of 1917 and “The Hino Nacional Brasileiro” (the Nationwide Anthem of Brazil by Francisco Manuel da Silva/Operating-systemório Duque Estrada) in 1918. In 1917, impressed by his skill and growing reputation, the impresario Walter Mocchi got him to review performing on the Teatro Municipal. Celestino still left his actions and devoted himself for just two years, and then develop his vocal abilities. Those were moments of high performing standards and solid bel canto affects in well-known music. He also got violão (classical guitar) classes throughout that period. In 1919, he resumed his profession, performing in Oduvaldo Viana’s play Amor de Bandido. It had been accompanied by Flor da Noite (also by Viana) as well as the operetta Juriti (Viriato Correia), with music by Chiquinha Gonzaga, a huge hit for Vicente and Abigail Maia. After that he arranged his initial organization of revues and operettas, as well as vocalist/celebrity Laís Areda. The 1st play of the business was Loucuras de Amor (Adalberto Carvalho), enacted in the Teatro Americano. In 1921, as well as soprano Galiacci, he sang the operas Tosca (Puccini) and Aída (Verdi) in the Teatro Lírico. 8 weeks later on, he sang Carmen (Bizet) with vocalist Medina de Souza in the Teatro São Pedro; in the same theatre, he enacted for the very first time the Martyr from the Calvary. With vocalist Carmen Dora, he structured another organization that toured the united states having a repertory of Viennese operettas. In 1923, he performed in Pará and within the next 12 months, began to create his personal lyrics while he continuing to tour. In 1924, he documented “O Cigano” (Marcelo Tupinambá/João perform Sul). In 1925, he performed Brandão Sobrinho/Celestino Silva’s O Mano de Minas, where he sang the popular “Saudade perform Sertão.” In 1927, he toured the north and, within the next 12 months, sang “Operating-system Gaviõsera” like a baritone. From Apr 1928 to Oct 1930, he documented 19 albums with 35 tunes in the electric procedure for Odeon, with many hits, included in this “Santa” (Freire Júnior) in 1928 as well as the tango-canção “Nênias” (Índio) in 1929. He previously a huge break in 1930, on the Teatro João Caetano, with Alvorada Perform Amor (Otávio Rangel); Rei Vagabundo and Ben Hur implemented. From 1931 to 1932, he toured Rio Grande perform Sul, associated himself on the violão. In 1932, he made a decision to type a duo with Francisco Alves (with whom he acted in the São José revues) to tour through European countries, but before they could move, they were asked by Teatro Recreio’s impresario to enact the burletta A Canção Brasileira (Luís Iglésias/Miguel Santos), with music by Henrique Vogeler. For the reason that play, Celestino fulfilled again with vocalist Gilda Abreu, whom he wedded five months afterwards, in 1933; the few made an appearance on-stage, she in her bridal dress, encircled by white pigeons tossed through the galleries. In 1932, Celestino exchanged Odeon for Columbia, having popular on the 1st album for the organization, the tango-canção “Noite Cheia de Estrelas.” In 1934, Celestino and Abreu performed collectively in The Teatro Recreio; in the same 12 months, Celestino published “Ouvindo-te.” In 1935, “Amo-te” and “Patativa” would follow. With Abreu, he sang Lucia di Lammermoor (Donizetti) in the Teatro São Pedro. In Buenos Aires, Argentina, Abreu was asked by Oduvaldo Viana to function in the film Bonequinha de Seda. In the Teatro João Caetano, the duo performed some operettas, included in this Alvorada perform Amor. In the same 12 months, Celestino documented “Cabocla Serrana” through Columbia. Displeased with the effect, he asked the business to not launch the recording. Using their denial, Celestino remaining the company, putting your signature on with RCA Victor. The 1st album already experienced two strikes, his “Ouvindo-te” (in duo with Gilda Abreu) and “Rasguei o teu retrato” (Índio). Then began to appreciate success being a composer, with, amongst others, “O ébrio” (1936), “Coração materno” (1937), “Patativa” (1937), “Sangue e areia” (with Mário Rossi, 1941), and “Porta aberta” (1946). In 1937, he toured Brazil, performing Viennese and Brazilian operettas. In 1939 he toured once again, this time around with Abreu, delivering, amongst others, the play Mizu (Oduvaldo Viana). In 1940, he composed “A serenata,” “Matei,” and “Tenho saudade.” In 1940, 1941, and 1942, he toured Brazil being a vocalist. In 1944, he performed Olhos de veludo (Luís Iglésias/Gilda Abreu). In 1945, he was employed by Rádio Tamoio. In 1946, he previously a huge achievement using the film O ébrio (Gilda Abreu). In 1947, he acted in the play Coração materno, motivated by his well-known tune. In 1951, the play will be modified for the homonymous film, also aimed by Gilda Abreu. He started in radio in the Sociedade and worked well at all channels. In 1959, he documented the samba “Se todos fossem iguais a você” (Tom Jobim/Vinícius de Moraes). In 1968, Caetano Veloso documented his “Coração materno.” He’d become paid a tribute from the Tropicália motion in a Television show when experienced a coronary attack and passed away in his accommodation in São Paulo.

Check Also

Ana Moura

Award-winning, chart-topping vocalist Ana Moura may be the most effective and precious fadista to surface …

Leave a Reply

Your email address will not be published. Required fields are marked *