Casa do Choro, in Rio, aims to spread the musical genre worldwide.

Administered by the Casa do Choro Institute, created in 1999 and presided over by composer and cavaquinho player Luciana Rabello, the space was born with an ambitious proposal; in addition to continuing the work of musical education, audience development, and training of new musicians, and preservation of archives, Casa do Choro intends, according to Luciana, to contribute decisively to the internationalization of the genre.

April 25, 2015, 20:12 hUpdated July 06, 2018, 15:34 pm

Administered by the Casa do Choro Institute, created in 1999 and chaired by composer and cavaquinho player Luciana Rabello, the space was born with an ambitious proposal; in addition to continuing the work of musical education, audience development and training of new musicians, and preservation of collections, Casa do Choro intends, according to Luciana, to contribute decisively to the internationalization of the genre (Photo: Leonardo Attuch)

Paulo Virgílio - Reporter for Agência Brasil

More than a century and a half after its emergence, choro, one of the oldest genres of popular music in the world, finally has, as of today (25), a cultural space and reference center entirely dedicated to it, in the city where it was born. Casa do Choro – installed in a 1902 building, on Rua da Carioca, in the historic center of Rio de Janeiro – was inaugurated at the end of the morning this Saturday (25), in a festive atmosphere, filled with the sounds of the genre and with the presence of great names in Brazilian instrumental music.

Administered by the Casa do Choro Institute, created in 1999 and presided over by composer and cavaquinho player Luciana Rabello, the space was born with an ambitious proposal. In addition to continuing the work of musical education, audience development, and training of new musicians, and the preservation of archives – carried out since 2000 by the Escola Portátil de Música, maintained by the institute – Casa do Choro intends, according to Luciana, to contribute decisively to the internationalization of the genre.

“There are choro groups spread around the world today, and we want their participation here at the venue and at our festival,” said Luciana, referring to the event taking place this weekend, following the venue’s opening. In its sixth edition, the National Choro Festival offers, today (25) and tomorrow (26), on a stage set up in the nearby Tiradentes Square, a total of 20 shows of choro musicians from Rio de Janeiro and other Brazilian states.

One of the members of the Honorary Council of Casa do Choro, musician Dori Caymmi believes in the international success of the genre. “You go to countries in Europe and the United States and you see many choro groups, and choro spreading abroad is another victory for Brazil,” he highlighted. Dori said he was moved by the invitation to be part of the council, since he doesn't consider himself a choro musician. “I've even composed some, but I don't have that ability. I'm a Brazilian musician who believes in Brazil, and I like Brazil much more than people like it nowadays, despite living abroad [in Los Angeles, USA].”

Dori Caymmi also emphasized the importance of the initiative in valuing genuinely Brazilian musical culture. “We have many genres, a lot of richness, and I am radical about that; I am the son of one of the greatest composers this land has ever produced,” he stressed, referring to his father, Dorival Caymmi (1914-2008). “It was a victory for Luciana and Maurício Carrilho [vice-president of the Casa do Choro Institute] to secure this space in the current context, where people call for…” funk "of a cultural manifestation from Rio de Janeiro," he emphasized.

The Council of Honor is chaired by the poet and music producer Hermínio Bello de Carvalho, Pixinguinha's partner and lyricist of a classic choro piece. Coconut candy, by Jacob do Bandolim. Hermínio, who celebrated his 80th birthday last month, made a valuable contribution to the Casa do Choro collection, which will now be on public display and available for researchers to consult.

Musical instruments, sheet music, manuscripts, record covers, paintings of choro musicians from the past, portrayed by painters and cartoonists, and reel-to-reel tapes that belonged to Jacob do Bandolim constitute a small sample of the collection on display in a room on the first floor of the house. Through the website www.casadochoro.com.brThe public will have access to much more. There are approximately 15 digitized scores and 2 78 rpm records. long plays, in addition to extensive bibliographic and iconographic material.

According to Maurício Carrilho, the 120-seat theater on the ground floor will have continuous programming, but the institute – which received funding from the National Bank for Economic and Social Development (BNDES) and Petrobras for the restoration of the building, which was in ruins, and for the implementation of the space – is still seeking supporters for the maintenance of the venue. "In the beginning, we'll have to manage by sheer force, with the resources we get from ticket sales and class fees," he revealed.

Nephew of the legendary Brazilian instrumental music figure, flautist Altamiro Carrilho (1924-2012), composer, arranger, and guitarist Maurício speaks with pride about the new generation of choro musicians. “Twenty years ago, the situation for choro was dramatic; there were no young people playing and no spaces dedicated to it. Today, you see students and former students of the Escola Portátil de Música playing in bars and gatherings,” he says.

Herminio Bello de Carvalho also shared this pride when referring to the creation of Casa do Choro. “When I see the success of these young people, I am very happy, because it is a moment of appreciation for the best of Brazilian music. Many of those I knew 40 years ago are now teachers at this school, and they are training new teachers,” he praised.