(S.G. Amarante / RN, March 4, 1921 - Rio de Janeiro, March 27, 2012)

            Ademilde Ferreira da Fonseca was raised in Natal, where they moved, when he was four years old. He was a family with few resources and eleven children (from the village called Pirituba). From childhood, she liked to sing accompanied by the guitars of the brothers, arriving to act in the squares of the city in service of loudspeakers. In 1941, already married to musician Naldimir Delfino and a two-year-old daughter (future singer Eymar Fonseca) came to Rio de Janeiro, looking for better opportunities, despite the husband's family enjoying considerable financial resources.

The following year, singing in clubs and private parties with the set of Benedito Lacerda, surprised to interpret the classic chorinho Tico-Tico No Fubá (with lyrics of the dentist Eurico Barreiros, friend of the composer Zequinha de Abreu, still unpublished in recordings). Released the same year in 78 rpm (Columbia label), with side B interpreting samba Volte Pro Morro (Benedito Lacerda, Darci de Oliveira), Ademilde Fonseca became the pioneer choros singer. With the immediate success achieved, still in the 1940's came other famous literary choros like Urubu Malandro (traditional, adapted by Lourival de Carvalho, João de Barro), accompanied by the set of Benedito Lacerda (Columbia, 1943). In 1944, already known like "Queen of Chorinho", contracted by Radio Tupi, presented / displayed with the regional ones of Claudionor Cross and Rogério Guimarães. The year of 1950 was also remarkable in his career when launching with the regional Waldir Azevedo the eternal chorinho Brasileirinho (Waldir Azevedo, Pereira Costa) in Continental seal. Accompanied by the label Todérica, Ademilde collected a series of new hits, such as the Molengo chorus (Severino Araújo Aldo Cabral), and the sambas Vão Me Condemn (Raimundo Olavo, O. Magalhães), Não Belredito (Alberto Ribeiro) All of 1950. The following year he played, among others, choro Galo Garnizé (Antonio Almeida, Luiz Gonzaga, Miguel Lima), samba Minha Frigideira (Nássara, Roberto Cunha).

In 1952, he released samba Só Você (Bruno Gomes, Ivo Santos), and choro Doce Melodia (Abel Ferreira, Luiz Antônio). It is also worth mentioning, in 1953: the Toada is Good (J. Domingues, Antonio Domingues), the samba Papel Queimado (Raimundo Olavo, João Orsi Cândido), and the choro Sapatinhos (Dilú Melo). Always active, in 1954, Ademilde transferred to Radio Nacional, integrating the cast of the station for 18 years. Among the most recent recordings on the All America label are the Polic Pinicadinho (Jararaca, Ratinho - 1954) and, in 1955, the Maxixe Rio Antigo (Altamiro Carrilho, Augusto Mesquita). With the advent of LP, the singer debuted in style with the album À La Miranda (Odeon, 1958), with a very well chosen repertoire of her favorite star, but interpreted to La Ademilde Fonseca: Striped Shirt, Truck Grape Assis Valente), Tic-Tac of My Heart (Alcyr Pires Vermelho, Walfrido Silva), Dog Vira-Lata (Alberto Ribeiro), Adeus Batucada (Synval Silva), and others. On the other hand, the versatile "Queen of Chorinho" masterfully issued a voice + Rhythm = Ademilde Fonseca (Philips label), for the musical direction of Vadico: Revolta (Vadico, Marino Pinto), May 13 (René Bittencourt), Boato Roberto Kelly), If You Say Yes (Luiz Bandeira). In 1962, he revisited hits from the 40s / 50s, again under the competent baton of Vadico, to the Choros Famous (Philips): Dreaming and Sonorous (K-Ximbinho, Del Loro), Caanquinho Cavaquinho (Ernesto Nazareth, Darci de Oliveira), Pedacinhos do Céu (Waldir Azevedo, Miguel Lima), Delicado (Waldir Azevedo, Ary Vieira).

In 1964, he toured with singer Francisco Egydio for Spain and Portugal, and remained in the show for six months in Lisbon. After a period away from the artistic activity, in 1973, Ademilde Fonseca returned to the scene in an unforgettable show next to Altamiro Carrilho, in the historic Samba Night (a focus of political and cultural resistance), taken in the old Theater Opinion (on Mondays In Copacabana) by Jorge Coutinho and the late Leonides Bayer. Two years later, Top Tape released the album Ademilde Fonseca, produced by Jorge Coutinho, when he included expressive new pieces: Choro Chorão (Martinho da Vila), Coração Crucero (Hermínio Bello de Carvalho, Vital Lima), Amor Sem Preconceito (Candeia, Paulinho da Viola), Choro do Adeus (Nelson Cavaquinho, Guilherme de Brito), Ademilde No Choro (João Bosco, Aldir Blanc).

In 1977, he performed with Abel Ferreira the previously commented "Projeto Pixinguinha", presented in some capitals of the southeast and south of the country. In the same year, the Museum of Image and Sound (MIS) published the important Queen Ademilde & Her Wonderful Chorões, accompanied by a true selection of instrumentalists, such as Copinha, Joel do Bandolim, Zé da Velha, and others. In 1999, he participated (in a new version) of the group Eternas Cantoras do Rádio, alongside Carmélia Alves, Ellen de Lima, Violeta Cavalcante, and played in the eponymous CD (label Leblon Records) Choro Chorão (Martinho da Vila) Brazil, and the beautiful Pedacinhos do Céu (Waldir Azevedo, Miguel Lima).

In 2005, the festival "Cadencia do Choro" was held at Circo Voador, honoring its undisputed "queen" Ademilde Fonseca, who had special guest appearances from her daughter Eymar Fonseca, Altamiro Carrilho, Joel Nascimento, Hamilton de Holanda, Déo Rian and Nights Cariocas, among other personalities of the area. When he died, Ademilde Fonseca left the throne empty, for his unique and striking style of singing, dominating the slight rhythm of weeping, with minute intervals to give harmonic sequence to the phrasing.

© Copyright 2008 - Pelo Telefone: A trip through Popular Brazilian Music.

Development and Design: Marcio Cunha