ROSINHA DE VALENÇA (Valença / RJ, July 30, 1941 - June 10, 2004)

             From the time she was a child, Maria Rosa Canelas became interested in acoustic guitar, she received an early musician from her uncle and developed her own technique. Soon, it began to play in a regional that animated the balls of its city and to accompany singers in the local radio. After leaving the studies to pursue an artistic career, in 1963 he moved to Rio de Janeiro. Discovered by the chronicler Sérgio Porto (the Stanislaw Ponte Preta) in the restaurant Au Bon Gourmet, already transformed into show house in Copacabana, received from this the artistic name of Rosinha de Valença. In the following year, she recorded her debut LP Introducing Rosinha de Valença (Cast Seal), with a good repertoire: She is Carioca (Tom Jobim, Vinicius de Moraes), Onze Square (Herivelto Martins, Great Othello), Consolação (Baden Powell, Vinicius Of Moraes), besides singing in. (Noel Rosa) and Minha Saudade (João Gilberto, João Donato).

In 1965, he participated in the ensemble Sérgio Mendes & Brasil'65, with Chico Batera, bassist Tião Neto and singer Wanda Sá, toured the United States with a recording of two albums: Brasil'65 featuring The Sérgio Mendes Trio (Capitol) and In Person at El Matador (Atlantic). The following year, the exceptional album "Rosinha de Valença ao Vivo" (Forma label) was released, which, despite the title, was recorded in studio, with contributions by Paulo Moura (sopros), Edison Machado (drums), Osmar Milito ), Among others "beasts", in pieces like: "Upa Neguinho" (Edu Lobo, Gianfrancesco Guarnieri), "Carinhoso" and "Lamentos" (those of Pixinguinha), "Vou Pra Valença" "(Jacob of the Bandolim).

In 1968, he began a series of presentations by Russia, Israel, Mozambique, Angola, Rhodesia and South Africa, where he recorded the LP Rosinha de Valença in Johannesburg. He presents Ipanema Beat (RCA Victor, 1970) with its components Duncan MacKay, Hilton Leite (drums), Bernardo Bernstein (bass), in spiced versions of her world class guitar: Whiter Shade of Pale (Keith Reid), national "Bossa Na Praia" (Pery Ribeiro, Geraldo Cunha) and Forever Yet Forever (Duncan MacKay).

In 1971, Rosinha's talent marked the album "A Guitar in the Foreground" (RCA Victor) while strumming: London London (Caetano Veloso), Concert of Aranjuez (Joaquin Rodrigo) and still singing with harmony the sambas "De Conversa en Conversa" (Haroldo Barbosa, Lúcio Alves) and "Samba da Minha Terra" (Dorival Caymmi). From that year until 1977, he participated like guitarist of six LPs of Martinho da Vila, impregnated of African sounds. Returning to 1973, he released Rosinha de Valença, simultaneously in Brazil (Som Livre) and in France (Barclay) with exclusively national repertoire: "Waltz of Eurídice" (Vinicius de Moraes), "After O Dawn" (Tião Neto, Oscar Castro Neves ), "Asa Branca" (Luiz Gonzaga, Humberto Teixeira), "Araponga", "Cuíca" and "Porto das Flores" (those of his own).

Already in 1976, the beautiful Rosinha de Valença: "smell of bush" (seal Odeon), is impregnated with poetry and its soft and pure song, in pearls signed by it; My Zelos, Godmother Moon, and adaptations to the traditional Cabocla Jurema, Xangô, as well as the enchantment of his guitar in the classics "Pedacinhos do Céu" (Waldir Azevedo), "Chuá Chuá" (Pedro de Sá Pereira). The following year, he appeared alongside the long-time master concertgoer Sivuca, in the "Show of Six and Half", recorded live in the João Caetano Theater (RCA label), when they performed vibrant duets on the aforementioned "Asa Branca" and " "And ended the solo show under applause with the samba" Tema do Boneco de Palha "(Vera Brasil, Sivan Castelo Neto). His last works took place in the following decade, with Violins in Two Styles - Rosinha de Valença and Watel Blanco (Som Livre, 1980) and Encontro das Águas (Independente, 1983).

In the 90's, living in Paris, while on vacation in Brazil, suffered a cardiac arrest, with brain injury that left her in 1992 in an irreversible coma for twelve years in the care of the sisters in Valença. Recognized internationally (accompanied by great musicians like saxophonist Stan Getz), Rosinha de Valença did not have the same luck in her country, treated with a certain indifference, despite being one of the greatest Brazilian guitarists.

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