You can help expand this article with text translated from
the corresponding article in Portuguese. (July 2012) Click [show] for important translation instructions.
View a machine-translated version of the Portuguese article.
Machine translation, like
DeepL or
Google Translate, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Wikipedia.
Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.
You must provide
copyright attribution in the
edit summary accompanying your translation by providing an
interlanguage link to the source of your translation. A model attribution edit summary is Content in this edit is translated from the existing Portuguese Wikipedia article at [[:pt:Elizeth Cardoso]]; see its history for attribution.
You may also add the template {{Translated|pt|Elizeth Cardoso}} to the
talk page.
Elizeth Moreira Cardoso (sometimes listed as Elisete Cardoso) (July 16, 1920 – May 7, 1990), was a singer and actress of great renown in Brazil.
Biography
Cardoso was born in
Rio de Janeiro; her father was a serenader who played guitar, and her mother was an amateur singer. Elizeth began working at an early age and between 1930 and 1935 was a store clerk and hairdresser among other things. She was discovered by
Jacob do Bandolim at her 16th birthday party, to which he was brought by her cousin Pedro, a popular figure among the musicians of the day. Jacó took her to Rádio Guanabara where, in spite of her father's initial opposition, she appeared on the Programa Suburbano with
Vicente Celestino,
Araci de Almeida,
Moreira da Silva,
Noel Rosa and
Marília Batista on August 18, 1936. The week after she was hired by the station to appear on a weekly program. Following this, she continued to perform on various shows with multiple radio stations. In the 1960s she had her own radio show.
Due to her low pay, in 1939 she began to perform at clubs, movie theaters and other venues. She met with considerable success and her popularity increased significantly. In 1950, thanks to the support of
Ataulfo Alves, she recorded Braços vazios (
Acir Alves and
Edgard G. Alves) and Mensageiro da saudade (
Ataulfo Alves and
José Batista), but the album was unsuccessful. Her next recording, also in 1950, met with popular approval. The album included Canção de amor (Chocolate and
Elano de Paula), and the samba Complexo (
Wilson Batista). The great success of Canção de amor led her, in 1951, to appear on the first television program in Rio de Janeiro on
TV Tupi and helped launch her film career. She appeared in Coração materno, by
Gilda de Abreu, and
Watson Macedo’s É fogo na roupa.[1]
In 1958, Cardoso was invited by
Vinicius de Moraes to be the singer of an album of songs written by himself and
Tom Jobim. Canção do Amor Demais became the first album of
bossa nova music, launching the new genre. The album was released on the Festa label. While Cardoso was not primarily considered a bossa nova singer, she is the vocalist on the original version of the bossa classic Manhã de Carnaval from the Orfeu Negro soundtrack.
Elizeth continued to sing and act with great success until her death. By the end of her life she had released well over 40 albums in Brazil,
Portugal and other countries. During almost seven decades of artistic life, she interpreted many forms of music, but her base was always sambaed, which she performed with great personality, and which earned her nicknames such as: A Noiva do Samba-Canção (the Bride of Samba), Lady do Samba, A Magnifica (the Magnificent One), and the one most connected with her name, A Divina (the Divine One).