Paulino Sacramento

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Highly proficient technically, Paulino do Sacramento wrote the tango brasileiro "Pierrô," which remained as an ultimate test for a trumpeter. Catulo da Paixão Cearense's verses for his song "O Marroeiro"…
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Highly proficient technically, Paulino do Sacramento wrote the tango brasileiro "Pierrô," which remained as an ultimate test for a trumpeter. Catulo da Paixão Cearense's verses for his song "O Marroeiro" were later taken into the controversial "Pelo Telefone," allegedly the first recorded samba. Together with Chiquinha Gonzaga, Paulino was the most active conductor of the musical theater of his time. His tango brasileiro "Vatapá," which was a big hit, was recorded through Columbia in the decade of 1900. He was contemporary, friend, and later disciple of conductor Francisco Braga. They played together at the band of the Lar dos Meninos Desvalidos and Paulino succeeded Braga at the conduction of that band. In 1898, Paulino wrote the songs for Artur Azevedo's revue Jagunço. In the theater, he collaborated with famous libretto writers like Bastos Tigre (O Maxixe), João Foca, Raul Pederneiras, Catulo da Paixão Cearense (O Marroeiro), among others, and built a reputation as composer and conductor. In 1904, he was conductor of the Companhia Silva Pinto e Colás; in the next year, he was the conductor of Companhia Segreto e Souza, and, in 1906, of the Companhia do Teatro São José. In 1912, he wrote the music for the revue O Rio Civiliza-se. In 1915, he wrote the music for the revue O Samba (Álvaro Colás). He was the conductor of the Companhia Nacional de Operetas e Melodramas between 1920 and 1921 and, in the next year, of the Companhia de Revistas e Burletas F. Marzullo, also directing the choir of the Teatro Carlos Gomes.