Born in the mountains of Rio Grande do Sul (South Brazil), in a region of great natural beauty known as Aparados da Serra, Maria Rita lived in the countryside her first 6 years moving with her family afterwards to the city of Caxias do Sul. At the age of 16, she moved to Porto Alegre, capital of the state of Rio Grande do Sul, to continue her studies. She graduated in Journalism at Federal University of Rio Grande do Sul where she also studied Music. But her relation with poetry and music started before that when she started using her voice as her instrument to compose and sing. During this young years Maria Rita participated in several music festivals and contests, receiving good reviews and awards, among them we can point out the nomination of the song Cântico Brasileiro No 3 – Kamaiurá at the 3rd edition of the MUSICANTO FESTIVAL.
At this time Maria Rita began to create and perform shows such as Rictus (1980), Anjo Negro (1983) and Brasileira (1984), all presented in Porto Alegre and other cities of the interior of Rio Grande do Sul. She moved to Rio de Janeiro in 1985 to study with maestro Luiz Eça, to perform with João de Aquino at the Sidney Miller Music Room and to work in cultural production. With her background as journalist she started a press office specialized in culture and entertainment named Antares Promotions Antares Promoções, which came to stand out in the South American cultural market and is still active.
In 1987 she recorded Brasileira LP with Ricardo Bordini, Luiz Eça and the group Uaktí. In 1988 she toured with the show Brasileira, performing in Rio de Janeiro, São Paulo, Curitiba, Salvador and Porto Alegre. This work earned her a nomination as Revelation Artist of the Year at the 1989 Sharp Music Award.
Her second album – Mapa das Nuvens - was released in 1993 and was done in collaboration with renowned Brazilian musicians such as Marcos Suzano, Danilo Caymmi, Farley Derze, Lui Coimbra, André Santos, Eduardo Neves, among others. Also following her passion for poetry, Maria Rita composed songs for eight poems of Mário Quintana, one of the most important Brazilian poets and also a gaúcho like her – both born in Rio Grande do Sul. In the CD two of the songs were recorded - Canção da Garoa and Canção de Barco e de Olvido. The CD was released with a series of shows in several theaters in Rio de Janeiro, highlighting the Jazzmania Club. She alsoperformed with outstanding musicians of the Brazilian scene including Luiz Eça, Jards Macalé, Nelson Angelo, Laudir de Oliveira and Totonho Villeroy.
After that she dedicated herself to the producer activity leading her company Antares, bringing to Brazil and South America the most important names of the world cultural scene.
30 years later ...
"I started to compose almost without realizing it, when I was 14 years old. I wrote and felt the sound of my poems. I listened to music of all kinds inspired by my parents since I was little, from a rancheira (country music from the south) to Beethoven. In the land where I was born, unfortunately, the environment was hostile to the female artistic creation, but I did not pay much attention to these things. The sound atmosphere of the people and places, the suffering of whites, Indians and blacks, and also their delight was what attracted me. I was kind of weird, so they said ... Whenever I tried to study music theory I did not understand why to do it and I never connected theory with my creative process. For me, everything began in the voice and was built in memory, repeating to save the already created and little by little listening to the lyrics, words sung, instruments, winds, blows, other voices, textures of sounds.”
The recording of Brasileira in 1987 was a herculean effort, which only happened due to the generosity of Luizinho Eça, a friend of the heart and great master, and Marco Antonio Guimarães, along with Paulinho Santos, Décio and Artur from Uaktí. And also, Ricardo Bordini, who had been with me for a long time, guessing and decoding my vocal sounds, which he translated for all kinds of instruments. Ricardo's presence in my music is like the skin of Siamese twins, me and him. Julio Saraiva who acted in various areas, from architecture to Puppet Theater, played accordion, sang and generously created and performed the original graphic work of the album cover.
Many years passed until I received a phone call from a close friend, Beto Kaiser, who worked for almost twenty years as Antares' technical director, saying that his son Millos, whom I had known since childhood, was my fan. I found it funny ... I was slowly returning to music after years of directing Antares. Millos had become a DJ and played my songs at the Selvagem parties and, as he said, he did not know that I was me: the same Maria Rita with whom his father worked ... This yes was a lap of many octaves, a thing that only happens in movies.
Before that John Gomez, also a DJ and member of the label Music from Memory (link) that found the Brasileira LP in Japan, was inspired by it to create the collection named Outro Tempo, released in February 2017 in Europe. All LPs manufactured were sold out in less than three weeks and a new edition is coming out soon (LP and CD).
Meanwhile Millos Kaiser and Augusto Olivani proposed to launch a single targeting to the world of DJs with a remix of Cântico Brasileiro No 3 made by them and another of Lamento Africano / Rictus with the French DJ Joakim. After several meetings in São Paulo, they decided to launch the BRASILEIRA album exactly as it was created, same lay out and all, as the first album released by their new label Selva Discos. At this point we also decided to make a new recording of Cântico Brasileiro No.3 with Paulinho Santos, brother of a thousand sounds, who has been with Uaktí from the beginning, recorded with me in 1987, played in several live shows and came from Belo Horizonte to create a new "Kamaiurá".
Red Bull Music Academy Festival São Paulo 2017
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