During the '50s, Ângela Maria was the most popular singer in Brazil, certified by IBOPE, a renowned institute dedicated to opinion research. Owner of a privileged voice and personal style of interpretation, Maria is regarded by many as the best singer of all time in that country, and successive musical movements such as bossa nova, Tropicália, and Jovem Guarda never succeeded in disturbing her career.

The daughter of a Protestant minister, she sang in church choirs from her childhood. She worked as a weaver, as her family was against her artistic wishes. Around 1947, she began to perform in radio, in novice shows like Pescando Estrelas (Rádio Clube do Brasil), Hora do Pato (Rádio Nacional), and in Ary Barroso's show on Rádio Tupi. Always using the pseudonym Ângela Maria (which occulted her performances from her strict family), she performed as an amateur in the famous Trem da Alegria (by Lamartine Babo, Iara Sales, and Héber Bôscoli) on Rádio Nacional. The listeners' good reception encouraged her to abandon her family and to try the career of singer. In 1948, she became the crooner of the Dancing Avenida, one of the most important gafieiras of Rio. Soon, she was hired by Rádio Mayrink Veiga. Her first recording came in 1951, with "Sou Feliz" (Augusto Mesquita/Ciro Monteiro) and "Quando Alguém Vai Embora" (Ciro Monteiro/Dias Cruz), for Victor. "Não Tenho Você," by then-unknown composers Paulo Marques and Ari Monteiro, recorded in the next year, was her first hit. During that time, she was a big star at Rádio Nacional and Rádio Mayrink Veiga, where she had her own show, A Princesa Canta (the Princess Sings). One of her fans, President Getúlio Vargas, affectionately called her Sapoti. In 1963, she toured Portugal and Africa, singing for Portuguese soldiers. In 1979, she participated (with João da Baiana) in the documentary Maxixe, a Dança Perdida (Alex Viany). One of her latest successes was a show shared with Cauby Peixoto, Canta Brasil, which was recorded and released by RCA/BMG as Ângela e Cauby ao Vivo. ~ Alvaro Neder

Cauby Peixoto is considered by many as Brazil's best singer. With his velvety and low timbre, influenced by Orlando Silva and Nat "King" Cole, Peixoto coined an individual style interpreting a kaleidoscope of genres ranging from tongue-in-cheek cheesy boleros to mambo (especially in the early '70s), romantic sambas-canções (his strongest point) such as his biggest hit "Conceição," and even a little bossa nova and jazz. Having remained a popular artist for over 50 years, he knew how to renovate his style and keep his aura, also improving his interpretations over the years. Peixoto was paid tribute by many important artists who wrote songs especially for him, such as Tom Jobim ("Oficina"), Caetano Veloso ("Cauby! Cauby!"), Jorge Benjor ("Dona Culpa"), and Roberto Carlos/Erasmo Carlos ("Brigas de amor"). Since 1951, he has recorded over 61 78 rpm, 51 LPs, and 20 CDs, having participated as a singer in over ten films. Cauby Peixoto was raised in a musical environment. His father was a guitar player, his uncle was Nonô (Romualdo Peixoto). Peixoto also had as a cousin, singer Ciro Monteiro. His siblings are pianist Moacyr Peixoto, trumpeter Arakén Peixoto, and singer Andyara. His first public appearance as a singer was at a novice radio show in 1949, in Rio de Janeiro. In that period, he started to sing in nightclubs. The first album came in 1951, with the samba "Saia Branca" (Geraldo Medeiros). The next year, he moved to São Paulo, performing in nightclubs and at Rádio Excelsior. In 1954, he had his first hit, "Blue Gardenia" (Bob Russel/Lester Lee, version by Antônio Almeida/João de Barro). In the same year, Peixoto was invited to join Rádio Nacional by entrepreneur Di Veras, who devised for him a launching strategy mirrored in the American methods. Some two years later, Peixoto became the idol of the masses, when he had his biggest hit with the samba-canção "Conceição" (Jair Amorim/Dunga). He would also have success in that period with "Nono Mandamento" (René Bittencourt/Raul Sampaio), "Prece de Amor" (René Bittencourt), "Ninguém É De Ninguém" (Humberto Silva/Toso Gomes/Luís Mergulhão), and "É Tão Sublime o Amor" (P. Francis Webster/Sammy Fain, version by Antônio Carlos). Portrayed by Time and Life magazines, Peixoto was launched in the U.S. under the stage name Ron Coby, where he recorded with Paul Weston and Percy Faith's orchestras. In 1959, Peixoto had another season in the U.S. (14 months), where he recorded "Maracangalha" (Dorival Caymmi) in the English version ("I Go"). From 1964 to 1968, he dedicated himself to perform with his siblings at his celebrated Drink nightclub, having recorded a live LP there with Leny Eversong. In 1970, he won the San Remo Festival (Italy) with "Zíngara" (R. Alberteli, version by Nazareno de Brito). From the late '60s to the late '70s, he was considered dated, compared to the vigorous movements of that period devoted to the younger generations in Brazil. Sensible to the audience's reaction, Peixoto adopted a more theatrical/extravagant style in his outfits and scenic persona, and a more restrained and "classical" identity in his vocal renditions that again brought him the public's interest. It was around 1979 when he participated with "Bolero de Satã" on Elis Regina's album. Cauby! Cauby! (1980), the commemorative LP of his 25-year of career, represented a complete renovation of his standard repertory, with songs by Caetano Veloso, Roberto Carlos/Erasmo Carlos, and the hits "Loucura" (Joanna/Sarah Benchimol) and "Bastidores" (Chico Buarque). From then on, he enjoyed stable success. Rediscovered by critics, Peixoto and Ângela Maria were paid tribute at the 1993 Prêmio Sharp award ceremony. In 1995, Dionne Warwick, Caetano Veloso, Gilberto Gil, Gal Costa, and Zizi Possi participated on his CD Cauby Canta Sinatra. ~ Alvaro Neder