Mário Reis

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Mário Reis
Mario Reis em "Alo, alo, Carnaval", 1936.tiff
Mário Reis in Hello, Hello, Carnival!, 1936
Background information
Birth nameMário da Silveira Meireles Reis
Born(1907-12-31)December 31, 1907
Origin Rio de Janeiro, Brazil
DiedOctober 5, 1981(1981-10-05) (aged 73)
Genres Samba, marchinha
Occupation(s) Songwriter, singer
Instruments Singer
Years active1928–1971

Mário da Silveira Meireles Reis (31 December 1907 – 5 October 1981 in Rio de Janeiro), also known as Bacharel do Samba was a popular Brazilian samba singer, active between 1928 and 1971. He collaborated with artists such as Francisco Alves, Carmen Miranda, Aracy de Almeida and Noel Rosa and was particularly successful as a radio singer. [1]

Rio de Janeiro Capital of state of Rio de Janeiro, Brazil

Rio de Janeiro, or simply Rio, is anchor to the Rio de Janeiro metropolitan area and the second-most populous municipality in Brazil and the sixth-most populous in the Americas. Rio de Janeiro is the capital of the state of Rio de Janeiro, Brazil's third-most populous state. Part of the city has been designated as a World Heritage Site, named "Rio de Janeiro: Carioca Landscapes between the Mountain and the Sea", by UNESCO on 1 July 2012 as a Cultural Landscape.

Brazil Federal republic in South America

Brazil, officially the Federative Republic of Brazil, is the largest country in both South America and Latin America. At 8.5 million square kilometers and with over 208 million people, Brazil is the world's fifth-largest country by area and the fifth most populous. Its capital is Brasília, and its most populated city is São Paulo. The federation is composed of the union of the 26 states, the Federal District, and the 5,570 municipalities. It is the largest country to have Portuguese as an official language and the only one in the Americas; it is also one of the most multicultural and ethnically diverse nations, due to over a century of mass immigration from around the world.

Samba is a Brazilian music genre and dance style, with its roots in Africa via the West African slave trade and African religious traditions, particularly of Angola and the Congo, through the samba de roda genre of the northeastern Brazilian state of Bahia, from which it derived. Although there were various forms of samba in Brazil with popular rhythms originated from drumming, samba as a music genre has its origins in Rio de Janeiro.



He graduated in Law and Social Sciences in the Federal University of Rio de Janeiro Faculty of Law, attending the same classes of Ary Barroso (LLB, 1929). [2]

Federal University of Rio de Janeiro Faculty of Law

The Federal University of Rio de Janeiro Faculty of Law, also known as the National Faculty of Law, is a law school located in downtown Rio de Janeiro, Brazil.

Ary Barroso Brazilian composer and musician

Ary de Resende Barroso, better known as Ary BarrosoONM, was a Brazilian composer, pianist, soccer commentator, and talent-show host on radio and TV. He was one of Brazil's most successful songwriters in the first half of the 20th century. Barroso also composed many songs for Carmen Miranda during her career.

He recorded many hits with Carmen Miranda and Francisco Alves, with whom also performed frequently in the 1930s, all of which are regarded as amongst the finest Brazilian singers of this period. [3] He toured in Brazil and also Argentina.

Carmen Miranda Brazilian actress and singer

Carmen Miranda, was a Portuguese-born Brazilian samba singer, dancer, Broadway actress, and film star who was popular from the 1930s to the 1950s. Nicknamed "The Brazilian Bombshell", Miranda is noted for her signature fruit hat outfit she wore in her American films. As a young woman, she designed hats in a boutique before making her first recordings with composer Josué de Barros in 1929. Miranda's 1930 recording of "Taí ", written by Joubert de Carvalho, catapulted her to stardom in Brazil as the foremost interpreter of samba.

As a singer, he was known for his gentle tone, which compensated for the lack of vocal power. His singing style even today sounds modern and he is considered one of the pioneers of bossa nova. [4] Many believe his singing influenced João Gilberto.

Bossa nova is a style of Brazilian music, which was developed and popularized in the 1950s and 1960s and is today one of the best-known Brazilian music styles abroad. The phrase bossa nova means literally "new trend" or "new wave". A lyrical fusion of samba and jazz, bossa nova acquired a large following in the 1960s, initially among young musicians and college students.

João Gilberto Brazilian musician

João Gilberto Prado Pereira de Oliveira, known as João Gilberto, was a Brazilian singer, songwriter, and guitarist, who was a pioneer of the musical genre of bossa nova in the late 1950s. Around the world he was often called "father of bossa nova"; in his native Brazil, he was referred to as "O Mito".

He spent many years away from singing career and returned years later to make records. In 1965 and 1971 he recorded two albums, this being his last.

In 1995, Julio Bressane made a film called The Mandarin about the Brazilian popular music of the 20th century, focusing especially on the life and work of Mário Reis. The singer was played by actor Fernando Eiras.


Antônio André de Sá Filho, known as André Filho was a Brazilian actor, violinist, mandolinist, banjo player, guitarist, pianist, composer and singer. He worked with some of Brazil's most notable performers of the 1930s including Carmen Miranda, Mário Reis and Noel Rosa.

Ismael Silva Brazilian musician

Milton de Oliveira Ismael Silva, known as Ismael Silva, was a Brazilian samba musician of African descent. In 1925 he had his first recorded his samba. His best-known compositions were Me faz carinhos, Se você jurar, Antonico, Para me livrar do mal, Novo amor, Ao romper da aurora, Tristezas não pagam dívidas, Me diga o teu nome, among others.

Noel Rosa Brazilian musician

Noel de Medeiros Rosa was a Brazilian songwriter, singer, and guitar/mandolin player. One of the greatest names in Brazilian popular music, Noel gave a new twist to samba, combining its Afro-Brazilian roots with a more urban, witty language and making it a vehicle for ironic social commentary.

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  1. McCann, Bryan (January 2004). Hello, hello Brazil: popular music in the making of modern Brazil. Duke University Press. p. 59. ISBN   978-0-8223-3273-2 . Retrieved 7 June 2011.
  2. Souza, Tárik de (2003). Tem mais samba: das raízes à eletrônica. Editora 34. p. 55. ISBN   978-85-7326-287-2 . Retrieved 7 June 2011.
  3. Crook, Larry (September 2005). Brazilian music: northeastern traditions and the heartbeat of a modern nation. ABC-CLIO. p. 249. ISBN   978-1-57607-287-5 . Retrieved 7 June 2011.
  4. Silva, Walter (2002). Vou te contar: histórias de música popular brasileira. Conex. pp. 198–. ISBN   978-85-88953-05-5 . Retrieved 7 June 2011.