::: ELIS REGINA ALIVE AND WELL :::

STILL THE GREATEST
By Cindy Pereira Wilson

This year Elis Regina would have turned 50 if not for a tragic drug overdose 13 years ago. She was bold and sharp, bringing to the public more than a beautiful voice. With her imagination and energy, Elis set standards by performing in often outlandish outfits and with always original style. A diva in her time, Elis set the pace for Brazilian popular music and left an impression yet to be equaled

In the 60's, intensity and energy lit the petite frame of legendary singer Elis Regina. Cloaked in this aura of free spirit, Elis triumphed in impassioned performances and recordings, putting her in the same league as Gal Costa and Maria Bethania. Now, while Gal and Bethania celebrate their 50th birthdays and many years of success, we can only guess what sparkling contributions 50-year-old Elis's repertoire would have held had she not accidentally overdosed on cocaine and alcohol in January of 1982.

Still, we can celebrate, through digitally re-mastered CD's of her performances and the story of her raise to fame, the 1945 birth of a woman whose shows, style and voice helped make the Brazilian bossa nova one of the most recognized and cherished musical contributions of Brazilian culture.

Few of us are ever touched with the magic of fame, and, of those who are, fewer still achieve it as quickly as Elis. Born in Porto Alegre, in southern Brazil, of a modest family, Elis began her musical career at age 14, singing on local radio shows. In 1961, a 16-year-old Elis recorded her first album. By 1962 she could brag of receiving two major awards in the South: Queen of the Disco Club (1961) and Best Singer of the Year (1962).

Elis headed to Rio de Janeiro, a driven, determined and fiery soul, as her nickname "Pimentinha" ("Little Pepper") suggested. Already showing signs of the controversial star to come, Elis faked a birth certificate in order to sing in night clubs. She stowed away in bathrooms during police raids. She catapulted into popularity around the ripe age of 20, when she began conquering audiences in São Paulo with charm, timing, style and beautiful interpretations of bossa nova tunes composed by such legends as Tom Jobim and Vinicius de Moraes.

Elis also bravely took to the stage unknown songs by then young and green composers like Caetano Veloso, Chico Buarque, Gilberto Gil, Milton Nascimento, João Bosco and Aldir Blanc. Her daring to sing unknown and sometimes controversial pieces was, to some, irreverence and cost her commercial support and fans. The singer sometimes clashed with interviewers and even with favorite composers like Gil and Caetano by way of brash comments and stubborn decisions to alter their lyrics.

In her personal life, Elis stood true to her fervent nature. Although she claimed her friendships were eternal, Elis was known to denigrate friends behind their backs. Perhaps the defamation was self-defense fueled by doubts and distrust, for she once said, "With me it's simple -- I share everything; my clothes, my friends... but my stage, that I do not share." Elis was able to transmit her confidence and intensity in performing to the audience, and they in turn rewarded her with energy and adoration. Largely through talent, but also through great dedication, Elis unleashed the passion to make her shows spectacular.

Even though performing may have been her first love, her ardor flowed outside of music to family, dreams and lovers. With her first husband, Ronaldo Boscoli, Elis's six-year, on-again-off-again relationship was stormy from beginning to end, when she instigated an affair with César Camargo Mariano. Mariano had been working on the Elis &Tom album when Elis boldly propositioned him. Ironically, one of the songs they had been working on described the end of a relationship much like the impending demises of their own marriages. Elis had one child with Boscoli (João Marcelo) and two with Mariano (Pedro and Maria Rita). At least some of Elis's musical roots were passed on to João Marcelo, who has hosted the show Cia. da Música (The Music Company) that spotlights new MPB (Música Popular Brasileira -- Popular Brazilian Music) releases.

A look at the trilogy tribute to Elis and her vast contributions to the MPB is especially appropriate as Elis would have become 50 on March 17 of this year. Bursting with Elis's beautiful, resonant voice, the trilogy, Elis no Fino da Bossa, paints an auditory picture of the singer's seismic TV performances in Sao Paulo from 1965 to 1967. Eighty thousand dollars were invested in the digital re-mastering, production and release of performances originally taped by journalist and researcher Zuza Homem de Mello. Combined with other recently released Elis CD's, the trilogy helps convey her life achievements through their various stages, recounting musical history in its making.

For Elis the performer, flirtations with the controversial, dedication to her heart's call and frenetic exuberance were not just peculiarities. Her idiosyncrasies may have been key ingredients in launching her to legendary status among Brazilian vocalists, for she gave audiences not only a strong, crystalline voice, but surprises, vivacious style and dedication to the art. Elis will live forever in the history of Brazilian music.