Considered perhaps one of the most gorgeous voices of Rádio Nacional in its heyday, Zezé Gonzaga, known specifically for her two strikes “Canção de Dalila” (Victor Youthful/ Clímaco César) and “Óculos Escuros” (Valzinho/Orestes Barbosa), participated regularly for the radio’s excellent time, accompanied with the orchestras carried out by Radamés Gnattali, Leo Peracchi, Lírio Panicali, as well as others. Like a composer, she published (with Luís Carlos Saroldi) the starting theme from the Minerva task, broadcast nationwide from the Rádio MEC. The child of the luthier and a lady flutist, Gonzaga was motivated by her parents to be an artist, therefore she required classes on lyrical performing, piano, and sight-reading, beginning as a vocalist at 13 in the Rex golf club in Além-Paraíba. After a brief stay static in Rio de Janeiro in 1942, she came back to Porto Novo until her definitive proceed to Rio 3 years later on, stimulated by the utmost grade acquired at Ary Barroso’s display in the Rádio Nacional, when she interpreted “Sempre no Meu Coração.” She also performed in the Escada perform Jacó radio display, hosted by Zé Bacurau, and in 1945, she received first place in the display Pescando Estrelas, hosted by Arnaldo Amaral in the Rádio Clube perform Brasil, having been employed from the outing. In the Rádio Clube, Gonzaga fulfilled Odaléa Sodré (Heitor Catumbi’s child), developing with her the duo As Moreninhas perform Ritmo, which also performed in the Rádio Jornal perform Brasil using the band of the pianist Laerte. In 1948, Gonzaga experienced an improved proposal from Rádio Nacional, therefore she remaining Rádio Clube. At the brand new radio train station, she shaped the trio As Moreninhas with Bidu Reis and Odaléa Sodré. Gonzaga’s initial album was documented in 1949, using the sambas-canção “Inverno” (Clímaco César) and “Desci” (Alcir Pires Vermelho/Cláudio Luís). For the reason that period, she also participated in various other groups, such as for example Cantores perform Céu and Vocalistas Modernos, also documenting many albums for Rádio Nacional being a chorist. Her biggest strike emerged in 1951 using the bolero “Canção de Dalila” (Victor Youthful, edition by Clímaco César), documented using the accompaniment of Lírio Panicali’s orchestra and choir. In 1956, Gonzaga documented her initial LP, Zezé Gonzaga, regarded the very best of the entire year. Among its successes had been “Ai Ioiô (Linda Flor)” (Henrique Vogeler/Luís Peixoto) and “Nunca Jamais” (Lalo Ferreira, edition by Marques Porto). In the past due ’70s, she documented Valzinho/Um Doce Veneno, a tribute to Valzinho where she was supported by Quinteto de Radamés Gnattali. In the past due ’80s, she shaped, with various other old-timers, the group Eternas Cantoras perform Rádio, documenting two CDs and carrying out several shows. In 1999, she documented, as well as Jane Duboc, the record Clássicas, doing displays in Rio, São Paulo, and various other metropolitan areas. In the past due ’90s, she also participated in the present Lupicínio Rodrigues with Áurea Martins in Rio and São Paulo. In 2000, Gonzaga participated in the MPB: A História de Um Século task, as well as Paulo Sérgio Santos and Maria Tereza Madeira, an ambitious effort that designed to review the annals of Brazilian well-known music in the 20th hundred years.