Elizeth Cardoso

Elizete Cardoso brought bossa nova into existence with her recording of Chega de Saudade while also becoming the earliest popular vocalist to present Villa-Lobos works on the stages of the Municipal Theaters in São Paulo and Rio de Janeiro. Almirante regarded her as the supreme exponent of Noel Rosa’s songs. Edith Piaf voiced her admiration by exclaiming “C’est merveilleuse! C'est merveilleuse!”, Cartola composed the celebrated samba-canção “Acontece” expressly for her, and Brazilian listeners embraced her warmly; Haroldo Costa originated the nickname “the Divina,” which Vinicius de Moraes then popularized in his sleeve notes for Chega de Saudade.

Her expansive vocal range allowed faithful navigation of both lower and upper registers, and her singular phrasing carried a pervasive melancholy that reflected an artist who had endured profound personal sorrow amid the rewards of acclaim, lending her performances an enduring poetic weight. Across nearly seventy years of activity she explored many musical idioms yet consistently favored samba.

She entered a musically inclined household in which her father worked as a seresteiro and her mother sang as an amateur. At age five Cardoso made her first appearance at the historic Carnival rancho Kananga do Japão, founded in 1911. Forced to take on modest employment from an early age, she was noticed on her sixteenth birthday by Jacob do Bandolim, whom her cousin Pedro, a well-known figure among local musicians, had invited to the celebration. Impressed, Jacob do Bandolim escorted her to Rádio Guanabara, where she made her debut on 18 August 1936 during the Programa Suburbano alongside Noel Rosa, Vicente Celestino, Aracy de Almeida, and Marília Batista. After being accepted into the station’s roster she performed there each Tuesday. Additional radio engagements followed, yet she continued to supplement her income with appearances in circuses, clubs, and cinemas. For more than a decade she formed a duo with Grande Otelo whose signature piece was “Boneca de Piche” by Ary Barroso and Luís Iglésias. Persistent financial pressures led her to work as a taxi-girl at the Dancing Avenida, where she also served as crooner beginning in 1941. In 1945 Júlio Simões engaged her for his ballroom Casa Verde in São Paulo, expanding her following to include Adoniran Barbosa, producers Vicente Leporace and Egas Moniz, and Blota Júnior, then A&R director at Rádio Cruzeiro do Sul. After one year she returned to the Dancing Avenida in Rio as crooner with the Orquestra de Dedé and subsequently performed at the Brasil, the Samba Danças, the Eldorado, and the Belas Artes ballrooms while also fronting the Orquestra de Guilherme Pereira.

Evaldo Rui, who became both her artistic advisor and her lover, entered her life in 1948 and proved decisive for her career; he guided her stagecraft and arranged an engagement at Rádio Mauá alongside her early champion Jacob do Bandolim, after which Rádio Guanabara rehired her as the station relaunched an ambitious schedule to rival Nacional, Tupi, and Mayrink Veiga.

Ataulfo Alves secured her first recording opportunity in 1950 at Star. The initial release, pairing the sambas “Braços Vazios” by Acir Alves and Edgard G. Alves with “Mensageiro da Saudade” by Ataulfo Alves, was withdrawn because of supposed technical faults. Composer Erasmo Silva, however, spotted her at the Dancing Avenida and brought her to the newly formed Todamérica label. On 25 July 1950 she recorded “Complexo” by Wilson Batista on the A-side and “Canção de Amor” by Chocolate and Elano de Paula on the reverse. Conductor Pachequinho’s intricate arrangements for the latter proved unworkable for the violin section, and twelve of the eighteen players departed for a prior commitment at Rádio Nacional, leaving saxophonist Zé Bodega to improvise the introduction and connective passages.

Radio programmers unexpectedly favored “Canção de Amor,” prompting Almirante to hire her for Rádio Tupi, then the second most popular station in Rio. In 1951 she made her television debut on Rio’s inaugural TV broadcast at TV Tupi and appeared in the films Coração Matrerno directed by Gilda de Abreu and É Fogo na Roupa directed by Watson Macedo. That same year Rádio Mayrink Veiga and the Vogue club engaged her, and she recorded the major hit “Barracão” by Luís Antônio and Oldemar Magalhães. She participated in the 1952 film O Rei do Samba directed by Luís de Barros. The following year her growing stature earned an invitation to the Golden Room of the Copacabana Palace, a venue ordinarily reserved for international artists; only Sílvio Caldas and Dorival Caymmi had previously performed there as Brazilians. Preferring the journalist-frequented Casablanca club, she opened the Noel Rosa tribute Feitiço da Vila there on 8 June 1953, drawing enthusiastic notices from Lúcio Rangel, Elsie Lessa, Vinícius de Moraes, Fernando Lobo, and other critics.

In November she issued the marcha “Ai, Ai, Janot” by Pedro Alves, Gerson Filho, and Antônio Filho, one of her rare Carnival successes; the lyric alluded to engineer Janot Pacheco’s failed claim of a chemical method for producing rain. Feitiço da Vila transferred successfully to São Paulo, yet in September 1954 Evaldo Rui took his own life and the press sensationalized her connection to the event. Emerging from grief, she accepted a fifteen-day Uruguayan tour that inaugurated a series of visits to that country.

Still in 1954 she shared a bill with Sílvio Caldas at São Paulo’s Oasis nightclub; local newspapers declared it the city’s most successful presentation to date.

She joined the Copacabana label in 1956 despite overtures from Odeon and Sinter, issuing the majority of her subsequent hits there over the next two decades. Already an established star, she hosted dedicated programs such as Audições Elizete on Rádio Mundial and Canta Elizete on Mayrink Veiga.

Vinicius de Moraes invited her in 1958 to record an album of his songs with Tom Jobim. Released on Irineu Garcia’s Festa label, which specialized in spoken poetry and had preserved the voices of Carlos Drummond de Andrade, Manuel Bandeira, Pablo Neruda, and Nicolás Guillén, Canção do Amor Demais became the first bossa-nova album. Permission from Copacabana allowed rehearsals at Jobim’s Ipanema residence, later memorialized by de Moraes in “Carta ao Tom”: “Rua Nascimento e Silva, 107/Você ensinando pra Elizete/As canções de Canção do Amor Demais.”

Upon release, “Chega de Saudade” attracted the greatest attention as the first recording to feature João Gilberto’s revolutionary guitar syncopation, also heard on “Outra Vez.” Despite the strength of Cardoso’s readings, she later re-recorded several of the same pieces more effectively, partly because earlier that day she had performed for an Army unit in a forest, arriving soaked and muddied.

For Marcel Camus’s 1959 film Orfeu do Carnaval, derived from de Moraes’s play Orfeu da Conceição, she recorded “Manhã de Carnaval” by Luís Bonfá and Antônio Maria together with “Samba de Orfeu.” The soundtrack sold briskly in the United States and France yet erroneously credited actress Marpessa Dawn as the vocalist.

After engagements in Buenos Aires and Portugal she issued the best-selling Meiga Elizete, accompanied by the groups of Moacir Silva and Walter Wanderley. Elizete Interpreta Vinícius, devoted to de Moraes’s compositions and produced by him with arrangements by Moacir Santos, likewise succeeded and drew critical praise.

On 12 October 1964, at the invitation of conductor Diogo Pacheco, she performed Villa-Lobos’s “Bachianas Número 5” at the Municipal Theater of São Paulo. The audience of 1,800 rose for a fifteen-minute ovation and demanded an encore; she stood motionless, wept, then complied. Mindinha, the composer’s widow, praised the interpretation, supplied the score for “Samba Clássico,” and requested a future performance. Cardoso repeated the Villa-Lobos reading at Rio’s Municipal Theater with identical results: another fifteen-minute standing ovation and calls for an encore.

Enthralled by Hermínio Bello de Carvalho’s Rosa de Ouro revue, which introduced Clementina de Jesus and revived Araci Cortes with Paulinho da Viola, Elton Medeiros, Jair do Cavaquinho, Anescar do Salgueiro, and Nelson Sargento, Cardoso announced her intention to record its entire repertoire. After intensive rehearsals she captured the sessions in four days during June 1965, producing the landmark Elizete Sobe o Morro. The album marked Nelson Cavaquinho’s recording debut as both guitarist and singer and the first commercial release of a Paulinho da Viola composition.

Later that year she performed at Lisbon’s Cassino Estoril and, upon returning, hosted the eighteen-month TV Record series Bossaudade. She appeared at the 1966 Festival of Black Arts in Dakar, Senegal. Her 1967 album A Enluarada Elizete featured Pixinguinha, Cartola, Clementina de Jesus, and Codó. In February 1968 she joined the historic João Caetano Theater concert organized by Hermínio Bello de Carvalho for the Museum of Image and Sound, accompanied by the Zimbo Trio, Jacob do Bandolim, and Época de Ouro; the event was issued live on two LPs.

She toured Latin America with the Zimbo Trio in 1968 and, together with the trio, performed at the 1969 Inter-American Festival of Popular Music in Buenos Aires. A United States tour with the same ensemble followed in 1970. Five years later she achieved major success at MIDEM in Paris. Engagements in Japan occupied 1977 and 1978. In 1979 she collaborated with Radamés Gnattali’s Camerata Carioca, a partnership that continued through her final recordings. She reunited with the Camerata and Gnattali in 1983 for Uma Rosa Para Pixinguinha, a tenth-anniversary tribute later released as an LP. The following year she premiered Leva Meu Samba, a fifteenth-anniversary homage to Ataulfo Alves that toured Fortaleza, Recife, Maceió, Salvador, Feira de Santana, and Ilhéus before appearing as an LP in 1985. Her fiftieth-anniversary celebration in 1986 yielded the show and album Luz e Esplendor. Another Japanese tour with the Zimbo Trio, Choro Carioca, and Altamiro Carrilho took place in August 1987. She received a tribute at the inaugural Sharp Prize ceremony in 1988 and appeared with Raphael Rabello in the Seis e Meia series the next year, returning her to public prominence.

While battling the cancer that ultimately claimed her, Cardoso realized a longstanding ambition by recording an album of Ary Barroso compositions. Although Hermínio Bello de Carvalho supported the project, funding materialized only through sponsorship by a furniture manufacturer. Despite physical distress during the sessions, her voice remained flawless. Bello de Carvalho recalled in the liner notes the words Ary Barroso himself would likely have used: “Artista de raça. Voz suavíssima e convincente. Interpretação magnífica.”