For the first time in history, Grande Rio entered Sapucaí to defend a title. The work by Leonardo Bora and Gabriel Haddad once again impressed with exquisite surfaces and unusual solutions as well as good legibility. However, the school had many development errors, they opened holes, in addition to problems with the lighting of the second carriage and the second tripod. Samba, in an inspired night by performer Evandro Malandro, was a highlight of the night with good singing from the congregation and audience. With the storyline Ô Zeca, where is the pagoda? I went barefoot, by wagon and train, in search of Xerém, to see you, to hug you, to drink and to drum! 9 a.m. * SEE PHOTOS FROM THE SHOWROOM
front commission
The front committee “Poetas da vida, Poetas do samba”, choreographed by Hélio and Beth Bejani, brought rascals and cabrochas from old times, populated the dance floor and, with the dance scratching the asphalt, revealed different facets of the musical universe of such a multiple artists like Zeca Pagodinho. The commission was then given a childlike tone by presenting a component dressed as a child with a teddy bear, symbolizing the restless spirit of the Erês, Zeca’s protectors, and the artist’s own musical work, in which childhood is the protagonist.
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The presentation unfolded in a sort of synopsis of the plot, going through various places of affection of the honoree and tracing an inner relationship of the honoree to bohemia and religiosity, which merge in Zeca’s life and work. The assignment culminates in Alvorada de São Jorge, the Holy Warrior, who is always associated with Ogum in Zeca’s discography. The scenic element that illuminated the floor where the Commission’s main presentation took place was a large plaza with bar tables and a small church at the end. At the climax of the presentation, a component depicting Ogum on horseback emerged from the ceiling of the small church. In general, it is commendable to receive a commission for a choreography that presents a lot of dance, focusing more on the gafieira on samba and the beauty of dancing. The commission also explained the plot, but the climax wasn’t much of a surprise to viewers.
Master Sala and flag bearer
The first master of ceremonies and flagbearers, Daniel Werneck and Taciana Couto, positioned just after the front commission, presented the costumes entitled “Dressed and Armed with the Arms of Saint George”. Wearing the school’s colors, the duo represented a mixture of offering and gratitude, with the costume reminiscent of armor and an imaginary warrior of Jorge and Ogum, saints who do not flee from battle and face the dragons of everyday life. Daniel held a small sword which helped set the tone of the costume and was used in the choreography.
In terms of dance, the duo once again showed great intensity in their movements, with Taciana performing many twirls and Daniel presenting steps with great accuracy and speed. The synchronicity of the two was a highlight and the tenderness and even sensuality, especially at the end when Daniel kissed Taciana’s hand. The duo also presented some moves related to African roots and presented the syncretism of the plot, São Jorge and Ogum, mainly in the samba excerpts that reported on this relationship. In these moments, the Guardians also made subtle steps that didn’t bother the duo and created a nice effect. Nothing to report about failures or mismatches.
harmony
The Caxias do Sul community put on a high singing performance throughout the parade and in all sectors. No congregations with nonsinging members were noted. The samba seemed very comfortable to the happily singing components, they didn’t even need the famous stimulus that the harmony directors give to the components.
Highlight for the sections “Who walks on the good road”, the first sector, “in the Mandingas that we do not see”, second sector, section of the Baianas, Passistas and towards the end of the school “Conservation of the roots”. In charge of the Tricolor de Caxias soundcar since 2019, Evandro Malandro has evolved every year and is already one of the great performers of the Special Group. A great bet from Grande Rio back there that has already borne fruit in recent years. He made an impeccable save with musical precision, intensity and managed to get the component. Emphasis on the support voices, which also excelled in creativity and musical correction.
plot
The plot “Ô Zeca, where is the pagoda? I have walked barefoot, by wagon and train, looking for Xerém to see you, hug you, drink and drum!” In chronicle format, it took the playful space of a magical day as its premise and conducted a quest through to Zeca. In search of the honoree, the parade traveled through territories and symbolic circles, spaces of affection linked to the artist’s work, biography and way of life. Based on the song “Zeca, where are you?”, the school presented some important signs from the singer’s life, such as his relationship to religiosity, the search for the artist in Alvorada de Jorge, in terreiros, chapels and small churches.
Then, starting from the laureate’s childhood memories, referring to the relationship with São Cosme Damião and sweets. The relationship with music, cacique de ramos and bloco bohêmios has been presented below. He then portrayed the suburbs and the baixada, with a great celebration of the honoree, his relationship with the carnival and in particular the centenary Portela at the end of the parade. Generally an act of simple assimilation identified with carnival and debunked in a creative and well developed way.
evolution
Grande Rio’s big problem was in this respect. The school had holes in both the first and second modules. In the first judging booth, which is double, the drums began their presentation, but the dancers’ grand piano went, leaving a light on the track at a crucial moment. In the second court booth, the “My Faith” tripod got stuck on the track and left a hole opposite the front wing “Heute ist Allerheiligen” that had already run.
In addition, the committee and the couple decided on a longer presentation, in addition to a samba show, and the school could not run for a long time. Another perceived problem occurred towards the end of the track, with components showing fatigue and giving the impression that the costumes were heavier. Although they sang a lot, they no longer jumped or danced, they only developed by walking. The battery retreated at 47 minutes and left it at 1h01 with no problems.
Samba enredo
Grande Rio Samba for the 2023 Carnival, a composition by Arlindinho, Diogo Nogueira and co., is perhaps the work that had the preCarnival chorus and competes for the official parades. “What a beautiful quitanda, quitandinha de Erê” is truly a memorable passage for those who sing, with a musicality befitting Zeca’s own musicality, which has the ease of using simple lyrics but is very interactive with those who listen to sing and with verve, is a very pleasant rhythm not only to sing but also to dance to.
It is indeed a musicality that captivates and makes you dance. The main chorus “Let life take me” made reference to a major hit by Zeca, and while losing some of its protagonism through the balance of the middle chorus, it focuses a little more on explosiveness, ending in “Sou Grande Rio, laden with Axé, my tour turned in faith”, making this homage to the association and giving the component the opportunity to emphasize its relationship with Verde, Vermelha e Branca de Caxias. Great performance of the work in the parade, for the presentation of the sound car commanded by Evandro Malandro, even sung by the audience.
costumes
Another great work of great visual sophistication by the duo Leonardo Bora and Gabriel Haddad. In addition, they were easy to read, with quality materials, but not as flashy and common in other schools. They were escapist solutions with the color that the plot demands. The costumes for the wing “Who walks the good way along” are striking, as they dialogue a lot with the opening of the wing at the head of the school, for the wing “It was carnival day” the good use of pastel shades of pink and blue. The color palette wandered through Zeca’s various search pages, making good use of pastels, gold and not just school colours. The models were bulky with large coasters, very beautiful and well finished, but it is also important to mention that they sometimes seemed heavy for the development of the components.
allegories
In his allegorical set, Grande Rio brought five allegories and two tripods. The article should also create dispoints in the school, also with excellent aesthetics, visuals, excellent readability and perfect workmanship. Because the lighting of the second allegory went out in all judgment modules, even if it lit up at times. The very colorful allegory, filled with children throwing candies and balls in public, plunged into the artist’s childhood memories of his childhood in the bands of Irajá and brought back religiosity to remember the taking of candies from São Cosme and to remember Damiao.
Also the tripod “Sapopemba and Maxambomba”, which represents a chariot with the memory of the inhabitants of the Baixada, was switched off in all sectors, with the lights flickering at times. On the positive side, the Abre Alas car “I want to thank him: weapons of Jorge, amulets of Ogun”, divided into two chassis, expressing Zeca Pagodinho’s public and intense devotion to São Jorge and Ogun, as well as the last allegory brings, “But I remain in Xerém because it is good country”, which brought the honoree below a large eagle in the central part, paying a fair homage to the centenary of Portela.
More highlights
Mestre Fafá’s percussion “O grande duelo Bafo da onça e cacique de Ramos” was a homage to the street feud of the revelers from the Bafo da Onça and Cacique de Ramos blocks, with twotone costumes. Queen Paola de Oliveira came from “Peito de Aço, Coração de Sabiá”, reminiscent of the metallic universe of Ogum. The actress was lifted onto a small structure with wheels above the drums during a presentation in the modules.
Grande Rio’s samba composers Arlindinho and Diogo Nogueira, husband of Paolla Oliveira, got close to the sound truck and sang the work together with Mayor Eduardo Paes. The actor David Brazil came to the fore in the second allegory. Highly praised in all modules, Zeca Pagodinho came in the last car, but in the last module, at the exit of the battery, Queen Paolla de Oliveira played the singer.