- Marisa Barroso — Cantigas de Enganar o Tempo
(1961) Copacabana CLP 11211
- Rosana Tolédo — Momento Nôvo
(1964) Philips P 632.715 L
- Morgana — Fuga com Morgana
(1962) Copacabana CLP 11261
- Claudette Soares — Claudette é Dona da Bossa
(1964) Mocambo LP 40214
- Giane — Giane
(1965) Chantecler CMG 2308
- Dorinha Freitas — A Voz de Dorinha Freitas
(1961) RGE XRLP 5098
- Rosana Tolédo — Distância/Tudo de Mim
(1963) RGE CS 70 032
- Rosana Tolédo — Tudo de Mim/Segredo/Além do Amor/Raízes
(1963) RGE n/a
- Rosana Tolédo — A Voz do Amor
(1963) RGE XRLP 5200
- Rosana Tolédo — Sorriso e Lágrima
(1961) RCA Victor BBL 1136
- Rosana Tolédo — A Voz Acariciante de Rosana
(1960) Odeon MOFB 3158
This double-page spread from the book features two great singers: Rosana Tolédo and Dorinha Freitas.
Sisters Maria da Conceição Tolédo (1934-2014) and Maria Helena de Tolédo (*1937), artistically known as Rosana Tolédo and Maria Tolédo, started out as a singing duo from 1947 to 1951. While Maria Tolédo enjoyed an international career in the mid-sixties with three albums recorded in the US along with her husband Luiz Bonfá, Rosana Tolédo became one of the top recording stars in the early sixties back home in Brazil.
In 1955, Rosana Tolédo auditioned at Rádio Inconfidência, when conductor Moacir Portes told her, she had no timing and sang out of tune. Her father sponsored some broadcasting time, and three months later she was hired by Rádio Inconfidência as a professional singer. Until 1960 she continued her numerous radio and stage appearances with Rádio Mineira, where she sang with Emílio Santiago and Clara Nunes, and alongside started her TV appearances.
Rosana Tolédo’s discography includes more than a dozen singles and five solo albums, released from 1960 to 1964. Her debut A Voz Acariciante de Rosana, arranged and conducted by Lindolpho Gaya, included notable versions of Sonata em Luar by Fredy Chateaubriand and Vinícius de Carvalho, and Canção Que Morre no Ar by Carlos Lyra and Ronaldo Bôscoli, paving the way for more soulful interpretations to come. Her rendition of Samba Triste, Baden Powell’s classic collaboration with Billy Blanco, considerably contributed to the nascent success of the composer and guitarrist. (The same arrangement of Samba Triste was used again by Chiquinho do Acordeom the following year on his album Chiquinho, Seu Acordeom e Sua Orquestra.)
In 1961, her second album Sorriso e Lágrima was arranged and conducted with an augmented orchestral backing by Nelsinho, including the swinging Saudade Vem Correndo, penned by Luiz Bonfá and Maria Tolédo, and one of the first renditions of Tristeza de Nós Dois by Durval Ferreira, Maurício Einhorn and Bebeto. (This arrangement as well was reused by another instrumentalist, this time by tenor saxophonist Aurino on his 1963 album Na Cadência do Samba.)
Rosana Tolédo’s 1962 album E a Vida Continua, once more arranged and conducted by Nelsinho, included her stellar interpretation of Não Me Diga Adeus, a samba classic from the forties by Paquito, Luis Soberano and João Correia da Silva.
Her 1963 album A Voz do Amor, arranged and conducted by Ruben Perez ‘Pocho’, showcased her biggest hit, Segredo, by Herivelto Martins and Marino Pinto. (Besides, yet another arrangement of a Tolédo song appeared on another album, this time the arrangement of Raízes was reused the same year on Sambas No. 2 by tenor saxophonist Héctor Costita aka Don Júnior.) Finally, A Voz do Amor also featured her spectacular recording of Samba em Prelúdio with Agostinho dos Santos.
Samba em Prelúdio, written by Baden Powell and Vinícius de Moraes, was introduced by Hebe Camargo in 1960 as a solo. After the memorable recording by Geraldo Vandré and Ana Lúcia in 1962, it became quite common to perform the song as a duet with male and female part as presented by Vandré and Lúcia. Vinícius de Moraes himself recorded the song as a duet in this fashion with Odette Lara in 1963 (see → No. 4). The same year, Rosana Tolédo and Agostinho dos Santos recorded two versions with reversed parts: the one released on A Voz do Amor features Tolédo in the ‘male’ part, opening the song with her deepest voice, on the second recording, originally unreleased, she took the ‘female’ part in a slightly modified arrangement.
In 1964, Rosana Tolédo released her final album, Momento Nôvo, including Inútil Paisagem by Antônio Carlos Jobim and Aloysio de Oliveira, and Encanto Triste by Durval Ferreira and Pedro Camargo, once again arranged and conducted by Lindolpho Gaya.
Her live performance with Pery Ribeiro on the compilation 100 Anos de Música Popular Brasileira in 1975 was her final record release, although she continued to appear in concerts and on TV until the eighties.
Rosana Tolédo had without a doubt a most unique voice, combining a distinctive sultry and smoky timbre with matchless emotional gifts. Regardless of Moacir Portes’ statement in her beginnings—she was definitely one of Brazil’s most impressive singers.
Playlist Rosana Tolédo:
1. Não Me Diga Adeus (Paquito – Luis Soberano – João Correia da Silva) from the album E a Vida Continua (1962)
2. Melancolia (Denis Brean) from the album A Voz do Amor (1963):
3. Saudade Vem Correndo (Luiz Bonfá – Maria Helena Tolédo) from the album Sorriso e Lágrima (1961)
4. Ama (Roberto Menescal – Ronaldo Bôscoli) from the album Momento Nôvo (1964)
5. Distância (Raul Sampaio – Benil Santos) from the album A Voz do Amor (1963)
6. Samba Triste (Baden Powell – Billy Blanco) from the album A Voz Acariciante de Rosana (1960)
7. Além do Amor (Baden Powell – Vinícius de Moraes) from the album A Voz do Amor (1963)
8. Maldade (Jair Amorim – Evaldo Gouveia) from the album Sorriso e Lágrima (1961)
9. Samba em Prelúdio (Baden Powell – Vinícius de Moraes) from the album A Voz do Amor (1963) with Agostinho dos Santos
10. Samba em Prelúdio (Baden Powell – Vinícius de Moraes), originally unreleased version (1963) with Agostinho dos Santos
The covers of Rosana Tolédo’s album always target her appealing looks.
The art work for Momento Nôvo, encircling the singer with poultry, is by Paolo Brèves with photograph by Mafra.
With a voice to fill any venue, Maria Auxiliadora Freitas Galvão (*1937), better known with her stage name Dorinha Freitas, started in 1956 when she won the first prize in a talent contest at Rádio Tupi. Soon afterwards she enjoyed her first success with her debut single Esperame en el Cielo b/w Fracasso. In 1958, she scored a hit with her slowed version of Hey There, Sammy Davis Jr.’s debut single from 1954, before she had her biggest hit with her rendition of Lamento by Djalma Ferreira and Luiz Antônio. In 1961, she recorded one of the rare versions of the beautiful bolero O Que Tinha de Ser by Antônio Carlos Jobim and Vinícius de Moraes.
Although she never had a professional vocal training, Dorinha Freitas is considered as one of the best vocalists from the so-called ‘age of radio’. She recorded twelve singles, but only one solo album titled A Voz de Dorinha Freitas (1961), and one duet album with David de Castro, Dois Corações (1965).
Playlist Dorinha Freitas:
1. O Que Tinha de Ser (Antônio Carlos Jobim – Vinícius de Moraes) from the album A Voz de Dorinha Freitas (1961)
2. Descendo o Morro (Antônio Carlos Jobim – Billy Blanco) from the album A Voz de Dorinha Freitas (1961)
3. Hey There (Richard Adler – Jerry Ross) from the single Hey There b/w É Luxo Só (1958)
4. Sofro (Nelson Alves – Vera Falcão) from the album A Voz de Dorinha Freitas (1961)
5. Lamento (Djalma Ferreira– Luiz Antônio) from the album A Voz de Dorinha Freitas (1961)
The art work for A Voz de Dorinha Freitas is uncredited.