(Curvelo / MG, March 22, 1935 - Guaratinguetá / SP, August 28, 2013)

            From childhood, Luiz Cláudio de Castro was involved by the plastic arts and music. By the age of six he began to draw, and then, in his father's gift, he got a little cavaquinho, which he learned to play with an amateur musician. As a teenager, she formed a vocal trio participating in parties and serenades. He then began to sing, and performed a musical program on Sunday nights at Radio Clube de Curvelo.
In 1951, he received an invitation from Radio Inconfidência, in Belo Horizonte, where he moved, continued his studies, composed and sang.

Soon he recorded two 78 rpm (Sinter label), debuting in the phonographic market with: samba song Weekend (Nilo Ramos, Rômulo Paes), spring fox In September "September Song" (Kurt Weill, Maxwell Anderson, André Rosito version) In 1952, the samba-song Nuestro Romance (Paulo Marques, Aylce Chaves) and the toada The Street Where She Lives (authored by Antônio Mauricio) in 1953.
At the end of 1955, he moved to Rio de Janeiro, signed a contract with Radio Mayrink Veiga and then released three LPs (Columbia label) for romantic themes: Meeting with Luiz Claudio (1956), The Bolero Story of One Amor (Carlos Almarán, version of Edson Borges), the samba-song Joga Rede na Mar (Fernando César, Nazareno de Brito); Dreaming of Luiz Claudio (1957), the Waltz I Want You So (Tito Madi), the fox My Pretense "The Great Pretender" (Buck Ram, version of Haroldo Barbosa) and Bem Juntinhos (1959), the samba-song Seu Hands (Pernambuco, Antonio Maria), Waltz Look at Me, Tell Me (Tito Madi).
Hired by the label RCA Victor, the singer continued with his accurate repertoire: Luiz Claudio (1960), Girl Feia (Oscar Castro Neves, Luvercy Fiorini), Love Without Goodbye (Luiz Bonfá, Tom Jobim) and Romantic Luiz Claudio (1961). Two Accounts (Boy), Song of Love (Chocolate, Elano de Paula) among others.
The following year, he joined the former National Faculty of Architecture, on the Island of Fundão, and pursued his career after graduating as a civil servant. For the record label Musidisc, in 1966 he released the excellent album Luiz Cláudio Entre Nós, when he pegged pearls from our popular music: Have a Pena de Mim (Cyro de Sousa, Babaú), Ai Que Saudades da Amélia (Ataulfo ​​Alves, Mário Lago) Ouro Preto, Dust of the Saudade. Another important work was in 1968 (Odeon label): Luiz Cláudio: Intimacy, initiated and concluded with the participation of Villa-Lobos Quintet in the bands No Brilho da Faca (Wagner Tiso, Novelli, Paulo Sérgio Valle) and Asa Branca (Luiz Gonzaga, Humberto Teixeira), besides Pilão (of his own), Rosa Maria (Aníbal Silva, Eden Silva).
When selecting songs of more regional characteristics, Luiz Claudio recorded the LP Cantigas (Odeon label, 1973), in which the singer Luiza, Mucama (Gonçalves Crespo), O Galo Cantou Na Serra Claudio, Guimarães Rosa verses), more adaptations of the singer to the traditional It's to You Flower of Heaven, Elvira Escuta. In 1975, the label Odeon edited the peculiar LP Report, with interviews to the composer about focused music, such as Sérgio Ricardo (Poema Azul), Caetano Veloso (Where I Was Born A River). In 1979, Luiz Claudio presented the anthological album Viola de Bolso (Emi-Odeon), whose first track (title of the album) was musicada de poem by the immortal miner Carlos Drummond de Andrade, who thus manifested himself: Luiz Cláudio when he composes and when he sings, he speaks of Brazilian themes that touch all we. His voice is a complement to his creative force. Luiz Claudio is all feeling and all Brazil. A Brazil that starts in Curvelo and will end in the heart of people. Another thing: you do not miss a word, a syllable, a vocabulary intention in your performance. I was happy with your melody about my verses. Other highlights: Felicidade (Lupicínio Rodrigues), Lugar Tão Lindo (coautoria of Marcos de Castro, Antônio Maurício), Toada Brasileira (Ivor Lancellotti, Paulo César Pinheiro).
In the plastic arts, Luiz Cláudio took a painting course at the Museum of Modern Art (MAM / RJ), having held his first solo exhibition in 1977 at the Galeria Sérgio Milliet (Funarte / Rio). In 1982, he celebrated his brilliant artistic career with the edition of the double album Minas Semper Viva: Historical Research of Musical Folklore Mineiro (EMI-Odeon), bound in book form, illustrated with paintings, drawings and watercolors by Luiz Claudio, containing Texts about the origin of the recorded songs, poems and blocks of various mining authors and other data (Léo Christiano Editorial). Among the songs are: Elvira Escuta (traditional, adaptation Luiz Cláudio), Sereno da Madrugada (traditional, Ubirajara Cabral adaptation), Acorda Minha Beleza (Gonçalves Crespo), Galo Cantou Na Serra (Guimarães Rosa, Luiz Claudio). A rarity and a true masterpiece.
Already retired, Luiz Claudius moved to Guaratinguetá (SP), the land of his wife, where he died. In 2005, the label Revivendo rescued part of the work of Luiz Claudio, with the CD Seu Seu Olhar, a great collection with Folhas Soltas (Portinho, W. Falcão), Na Boca da Noite (Sérgio Bittencourt), Rancho das Flores (Vinicius de Moraes About JS Bach's cantata), as well as the title track (by Tom Jobim). Considered one of the most beautiful voices in Brazil, with a calm and cordial temperament, that transmitted in its songs and interpretations, Luiz Claudio is little remembered by the current media.

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