The Theatro Municipal in Sao Paulo (in the centre of this picture from the Life Magazine archive), the site of one of Villa-Lobos's great triumphs: the Semana de Arte Moderna in February 1922. I'm guessing that this picture is from the 1930s. [the picture is © Time Inc.)
The Theatre was inaugurated in 1911, so we can look forward to Centennial celebrations next year.
Thanks, everyone, for your entries in this contests, which is now closed.
In early 2010 Naxos released an 8-CD box set of the complete Piano Music of Villa-Lobos that the Brazilian pianist Sonia Rubinsky recorded from 1999 to 2007. To celebrate this important event, I will be sending out free copies of the individual discs to lucky winners over the next couple of months.
All you have to do is send an email to this special address - villa-lobos@rdpl.org - and let me know what your favourite Villa-Lobos piano work is. If you're not sure, that's o.k. - you'll still be entered in the draw for these discs. I'll draw one entry at random each week for the next 8 weeks, and will contact winners for their address. You only need to enter once; your email stays in the prize pool until all 8 CDs have been won.
Thanks to Naxos USA for making these great discs available.
Here are some podcasts that include music by Villa-Lobos:
Between 1965 and 1981, the Museu Villa-Lobos in Rio de Janeiro, jointly with the Ministry of Education and Culture, published twelve volumes of essays, appreciations and reminiscences under the title 'Presença de Villa-Lobos'. The quality and interest of the contributions are variable; but for me, the best parts of the material are the texts by the composer himself, the perceptive analyses of aspects of his work by experts such as Eero Tarasti and Pierre Vidal, documentation about the composer's endeavours in musical education, and a wealth of recollections from artists and musicians who knew Villa-Lobos.
Some of the anecdotes that are told, for instance, by his widow, Mindinha, and by his close friends have appeared elsewhere in print; but since all the biographical material in the 'Presença' volumes is in Portuguese, the following examples, which I have translated and paraphrased, may help to give a flavour of the composer's personality for those not familiar with that language. Villa-Lobos could be fairly certain that the cultural elite who hosted him on his tours abroad - particularly in North America - understood not a word of Portuguese.