FULL FINAL: 3º Concurso de Canto Lírico Joaquina Lapinha do Conservatório de Tatuí 2024
Information on the Performance
- Work Title: FINAL: 3º Concurso de Canto Lírico Joaquina Lapinha do Conservatório de Tatuí
- Composer: various
- Libretto: various
- Venue & Opera Company: Teatro Procópio Ferreira, Tatui, Brazil
- Recorded: June 1, 2024
- Type: Concert Live
- Singers: Alzeny Pereira, Nelo de Farias, Ádamo Oliveira Cruz, Carlos Eduardo de Jesus Morais Araújo, Chiara Santoro Gomes, Clóvis Portuguese da Silva Junior, Filipe da Silva dos Santos, Gabriela Nunes. Irma Ferreira Santos, Isaque Pereira Braga de Oliveira, Jayana Gomes Paiva, Jéssica Cristina Soares, Lucas Timóteo de Melo, Marcelo Dias da Silva, Natã Milhomen Lemos, Núbia Eunice Viana Ferreira, Paulo André Nascimento de Jesus, Sávio Alves Oliveira, Tania Moura Gomez, Tatiane Reis da Silva, Thaina Roberta da Silva Souza
- Conductor:
- Orchestra:
- Stage Director:
- Costume Designer:
Information about the Recording
- Published by: Conservatório de Tatuí
- Date Published: 2024
- Format: Streaming
- Quality Video: 4 Audio:4
- Subtitles: yessubs, gensubs, othersubs
- Video Recording from: YouTube FULL VIDEO
ADDITIONAL INFORMATION ON THIS PERFORMANCE
The name of the competition pays homage to the first black Brazilian actress and lyrical singer to gain international prominence, Joaquina Maria da Conceição Lapa – Joaquina Lapinha – considered a female reference in the lyrical scene and one of the first women to receive authorization to participate in public shows in Portugal (Lisbon). “This affirmative action promoted by Sustenidos aims to contribute to making the Brazilian lyrical scene, in fact, more diverse”, highlights Alessandra Costa, executive director of Sustenidos.
Recognized in the Portuguese-Brazilian artistic scene as a singer, in the mid-19th century, Joaquina Lapinha began her career in Rio de Janeiro. Born in Minas Gerais, the artist performed in several Portuguese cities from 1791 to 1805 and, despite her international career, some authors point out that, because she had black skin, the actress had to resort to cosmetics to lighten it during her performances at the Europe.
The singer was the subject of the book ‘Black Líricas: two Brazilian interpreters in concert music’ (Sete lagoas, 2008), by researcher and musician Sérgio Bittencourt-Sampaio, and was mentioned in ‘O Rio de Janeiro in the time of the viceroys’ (1956), by chronicler Luís Edmundo, as the one who was “stepping like no one else on tablas (stage)”, in addition to being the plot of the samba school Inocentes de Belford Roxo, in the 2014 Carnival.