TEATRO RECORD - Rua da Consolação, 1992

As we've already seen in this blog, Teatro Record stared its function as the auditorium of TV Record, Channel 7 in January 1959, with the presentation of Record's granting of covetous trophy Chico Viola Awards to the 30 best selling recording artists covering the previous year of 1958.

Teatro Record had been Cine Rio before and was bought by Paulo Machado de Carvalho and transformed into a modern theatre that could be used as a venue for major international stars visiting the city, staging of great shows like Skindô (1962) or the yearly extravaganzas of Roquette Pinto Award for the best acts in radio & TV.

In 1966, Teatro Record housed the most famous of all MPB's festivals when Geraldo Vandré's 'Disparada' and Chico Buarque de Hollanda's 'A banda' won 1st prize and set Brazil on fire so to speak.

rock band The Jordans at Teatro Record lobby circa 1967

Nico Fidenco doing a sound-check at an empty Teatro Record in the afternoon of 12 May 1965 while some groupies wait in the seats. 

Nico Fidenco on the stage of Teatro Record having the auditorim at his back.

This was actually the performers' entrance to get into Teatro Record. It was in a different building that had a connection with the theatre itself. This photo was taken in 1966, probably during that famous pop-music-festival. From left to right: Carlos Bloise, Adylson Godoy, whose brother Amilton Godoy was one-third of Zimbo Trio, Cesar Galvão and Zé Eduardo Nazario.  

Lustres Bobadilha on Rua da Consolação, seen in a 1953 photo.

Rua da Consolação being turned into a two-way street on 12 September 1967.

Cine Regencia is turned into Teatro Record-Augusta.

'Correio da Manhã' 25 September 1969: TV Record opens a new Auditorium at Rua Augusta, 973. The venue formerly Cine Regencia - was completely refurbished to house a brand new TV auditorium which would host programmes such as 'Familia Trapo', 'Guerra é guerra', 'É proibido colocar cartazes', 'Praça da Alegria', 'Alianças para o sucesso', 'Hebe', 'Moacyr Franco Show', 'Helio Ansaldo Show', 'Hotel do Sossêgo', 'Astros do Disco', 'Seu riso vale ouro' and 'Show do dia 7'. 

Sara Montiel - 12 November 1963

Sara Montiel aka Sarita Montiel - born on 10 March 1928 - had been making movies since 1943 when she was 15 years old. In 1950 Sarita moved to Mexico - that was experiencing its film golden age. She also made movies in the USA (Serenade, Stronghold, Vera Cruz) and Cuba. 

Sarita moved back to Spain in 1957 and in 1958, she starred in 'La violetera' which made her an overnight sensation world wide. In 1959, Sarita filmed 'Mi ultimo tango' in Buenos Aires and stayed a few days in Brazil. 

Sara was back in Brazil in November 1963, due to her starring in 'Samba', a Spanish film that would be shot during the 1964 Carnaval celebrations in Rio de Janeiro on 9, 10, 11 & 12 February 1964.

That's when Paulinho Machado de Carvalho, the man with the dough at Sao Paulo's TV Record made her an offer she could not refuse: to sing twice in one eveming at Teatro Record for an undisclosed amount of money.

Sarita Montiel sings at Teatro Record in São Paulo in an article in TV guide  'SP na TV' 2 December 1963.

Sara Montiel sings at Teatro Record on 12 November 1963 at 8:00 and 10:00 pm.

now, I wonder whether Sarita sang at 5:00 & 9:00 pm or at 8:00 & 10:00 pm on 12 November 1963. These ads are conflicting... 

While Sarita Montiel appeared live at Teatro Record in São Paulo, in 12 November 1963, 'Sublime Melodia' (1961) was shown at Cine Rio (Conjunto Nacional), Cine Atlas (Av. Rio Branco), Cine Pigalle (Largo do Arouche), Cine Jardim (rua Fradique Coutinho), Leblon e Itapura.

Italian acts visit Brazil 1964-1965

As of 1963, Italian acts became very well known in Brazil. Peppino Di Capri had already visited us in 1962, due mostly to his being a 'twist-act', not exactly an 'Italian act' per se. 1963 saw the emergence of Emilio Pericoli with 'Al di là' following the success of US film 'Rome adventure' (Candelabro Italiano) and Nico Fidenco with 'Legata a un granello di sabbia' - both singers visited Brazil still in 1963: Nico Fidenco in September and Pericoli in early December.

1964 became the year Italian acts dominated the Hit Parade. Here are some articles about some of the visits.

Rita Pavone was the greatest of them all. She had a #1 hit (Datemi un martello) plus the LP 'Meus 18 anos' at #1 in the album charts and an extended-play 'Adorabile' at #1 too. June 1964.

Rita Pavone left but news about her romance with local rock drummer Netinho continued to fill the pages of magazines. Even Rita's latest hit 'Scrivi' (Write to me) was seen as a plea for her beau to write her.

Rita Pavone came back in April 1965 for a repeat performance. But things were different this time. Rita lacked a #1 hit like the year before. Maybe the act was not as sensational as the 1st time. Brazilians had been surprised with Rita Pavone's cheek in 1964. Even so, Rita had Standing Room Only performances through the 6 consecutive days she performed at Teatro Record. 

Edoardo Vianello who had 2 major hits with 'Abbronzatissima' and 'O mio Signore' in 1964, visited Brazil in 1964 and 1965. 

Michele, who had 'Se mi vuoi lasciare' at #1 in 1964, and a best-selling album too, visited São Paulo and Rio in 1965.

Italians were so much in demand in 1964-1965 that even utterly unknown acts like these six singers were welcome anyway. Mary Di Pietro had a fling with Rita Pavone's ex-beau Netinho while she visited Argentina earlier in the year. Giancarlo Guardabassi recorded for RCA Italiana and was the only act who had released records here - mostly in the form of compilation albums. Ricardo Del Turco was the luckiest one in the group: while in Brazil he heard Demonios da Garôa's 'Trem das Onze', translated the tune into Italian, recorded it as 'Figlio unico' and had the biggest hit of his career.

CONNIE FRANCIS - February 1965

Connie Francis visited Brazil in early 1965, when her popularity here was at its greatest due to her MGM album 'Connie Francis sings modern Italian hits' featuring 'Al di là'. Connie flew straight from Rome, Italy where she had sung 'Ho bisogno di vederti' at famous Festival di San Remo which takes place in late January.  

Judging by the two photos below, Connie had a major reception at Rio de Janeiro's airport being welcomed by Impresario Abraham Medina, 'Revista do Rock's editor Jeanette Adib and Vera Lucia Couto, Miss Brazil 1964, who had been a sensation the year before for having been the very first Black woman to be elected in a major beauty contest.  

Connie Francis had the honour to be the first act to perform at Teatro Republica, that had been just built as part of Rio de Janeiro's 4th Centenary celebrations.

Jornal do Brasil - 2nd February 1965.

Connie Francis - 2nd February 1965 (Jornal do Brasil) - Connie Francis hoje no Rio, inaugura Teatro da República. Connie desembarca no Rio de Janeiro em voo vindo de Roma, onde ela se encontrava depois de se exibir no Festival de San Remo, onde defendeu 'Ho bisogno di vederti' em dobradinha com Gigliola Cinquetti, a vencedora de 1964. O empresario carioca Abraão Medina, contratou Connie Francis para a inauguração do novo teatro, num programa onde aparecia o sexteto de Paul Winter também.

Houve uma grande recepção a Connie Francis no Aeroporto do Galeão, com a presença de Vera Lucia Couto, famosa Miss Brazil 1964, e o empresário Abraão Medina, que geralmente era associado da TV Rio, Canal 13 e seu programa 'Noite de Gala'. Connie não se apresentou em São Paulo, ficando restrita a essa apresentação na Cidade Maravilhosa.

Jeanette Adib (editora da Revista do Rock) e o empresário Abraão Medina ladeiam Connie ao chegar ao Rio de Janeiro.

Connie Francis fell in love with Jair Rodrigues' 'Deixa isso p'ra lá' - one of the biggest selling single in 1964 - and said she intended to record it when she got back to the USA. 'O Estado de S.Paulo', 9 February 1965. Connie was true to her words for as soon as she got back to the States she recorded a cover of 'Deixa isso p'ra lá' which became 'Bossa Nova Hand Dance'. 

The article on the left appeared at 'O Estado de S.Paulo' on 10 February 1965. It says Connie sang at TV Excelsior, Teatro de Cultura Artística on rua Nestor Pestana the previous night. Miss Francis sang 'Malagueña', 'Never on Sunday', 'The girl from Ipanema', 'Exodus' and 'Al di là' her most recent hit in Brazil. 

T.S.C., the journalist, was obviously confused about the more recent history of American pop music and didn't know much about Connie Francis career either. But that is natural in Brazil, where those in the position to write for prestigious newspaper don't know much about what they are supposed to write.

Connie Francis in São Paulo in February 1965.

Connie on the cover of 'Manchete' Brazilian most popular illustrated weekly magazine. 

Connie Francis in 'Manchete'...

Connie Francis a few weeks earlier at San Remo Song Festival 1965

These were the most popular songs at San Remo 1965.

1. Se piangi, se ridi (Bob Solo / New Christy Minstrels)
2. Abbracciami forte (Ornella Vanoni / Udo Jürgens)
3. Ho bisogno di vederti (Gigliola Cinquetti / Connie Francis)
4. Invece no (Betty Curtis / Petula Clark)
5. Io che non vivo senza te (Pino Donaggio / Jody Miller)

6. Le colline sono in fiori (Wilma Goich / New Christy Minstrels)
7. Cominciamo ad amarci (John Foster / Joe Damiano)
8. Devi essere tu (Ricky Gianco / Jody Miller)

Even though Connie Francis sang mostly rock'n'roll at first like 'Stupid cupid' and 'Lipstick on your collar', in Brazil she was mostly known as an International act releasing a few albums of Spanish and Italian evergreens.

Connie Francis' EP and LP singing in Italian sold like hot cakes in Brazil in 1964 and 1965.

'Connie Francis canta boleros e canções espanholas' was Connie's best selling album in Brazil until she recorded the one in Italian. 'Malagueña' was the most played on the radio followed close behind by 'Granada'.