LA Splash Carnaval Review 2007
NY Times, 2006
Bruce Gilman's Review
La Opinion
LA Times, 2003
2002
"... Carnaval was all over the place Saturday at the Hollywood Palladium, which was filled with the festive music and spirit that always mark the annual Brazilian Carnaval event. The stars of this year’s show were a collection of musicians and dancers from Rio’s prize-winning Imperatriz Leopoldinense samba school, and when they took the stage shortly after midnight, the initial effect was exhilarating… Imperatriz Leopoldinense puts authenticity in Carnaval..." - Don Heckman, Los Angeles Times
"... In Los Angeles, the Hollywood Palladium had 3300 people dancing all night long, with Imperatriz Leopoldinense Samba School, Katia Moraes showing her full energy with Badaue and we can’t forget to mention the TropiDANZA dancers, which was another great show... Once again Patricia and Gilberto Leao presented an event at a professional level... congratulations to Brazilian Nites Productions for the enormous effort and beautiful show!" - Yaro Prybil, Brazilian Pacific Times
"... Samba, batucada, percussion... the Brazilian energy is back at the Hollywood Palladium to reaffirm the bonds of the multiculturalism..." - Jose Fuentes-Salinas, La Opinion
"... This was a superb cultural event; one that brought unique talent and showmanship..." - Agora International Press Corps
"... It’s not often that a world music festival at a prestigious amphitheater turns into the kind of relaxed, infectious party you would find in the backyard of a Latin American home. Then again, this is Brazilian music we’re talking about. History has shown repeatedly that offering resistance to the almighty drum is simply futile..." - Ernesto Lechner, Daily Variety
2001
"... Latin Divas was the headline for Saturdays night’s world music concert at the Greek Theatre. And with Brazil’s Gal Costa and Mexican American Lila Downs present, there was indeed plenty of diva power on stage..." - Don Heckman, Los Angeles Times
"... the Fifth Annual Latin Jazz Festival in Los Angeles, featured the famous Brazilian singer Gal Costa and Lila Dows, in an encounter of diverse proposals, and a confrontation of two generations..." - Sergio Burstein, La Opinion
"... it was in the final half of the program that the real celebration took place. Responding to a gesture of inclusion form Djavan, the capacity crowd surged to the front of the auditorium. In characteristic Brazilian style, every piece that followed became an audience sing-along, with Djavan occasionally pausing to smile as the crown carried his melodies... Djavan [was] slapping hands with the crowd, enjoying every minute of a remarkable evening, one that was clearly as enjoyable to him as it was to his enraptured listeners." - Don Heckman, Los Angeles Times
"... at its splendid best, Saturday’s Brazilian Carnaval 2001 [was] a faithful replica of the real thing... the trio elétrico of virtuoso guitarist Armandinho [provided] raucous music, borrowing bits from a thousand styles, with the sole purpose of enticing your feet to move all night long." - Ernesto Lechner, Los Angeles Times
"Brazilian Nites wins the battle of the Carnavals with a knockout... a well-organized event. The music was non-stop. Brasil, Brazil put on a pulsating, energetic show. They had everyone dancing. Then came the TropiDanza Dancers with their outrageous outfits... It was almost overwhelming, the color, the movement added up to the lavish production." - Herb Rubinstein, L.A. Theatre (an E-zine)
2000
"The Brazilian diva, a major artist for more than two decades, sang an introductory incantation and immediately established her deep connection with the African-rooted music of northeast Brazil... Ramalho’s art... brings a colorful array of elements to the focused dynamism of her onstage persona... her performance was a revealing insight into sounds and rhythms from beyond the familiar arena of samba and Bossa nova. Ramalho makes it clear that she intends to be an ambassador for the regional culture that she knows best—the Northeast, with its maracatu, forró, frevo and baiao." - Don Heckman, Los Angeles Times
"... The amphitheater was on fire!... Elba Ramalho and Geraldo Azevendo had security on their feet, provoking people to dance and transforming the place into a carnaval..." - Jose Fuentes-Salinas, La Opinion
1999
"Caetano Veloso, by almost any definition, is a great artist. A poet, a singer, a songwriter and a musician, he is a master of many media of expression, his work transcending its Brazilian roots to embrace a fully global view.... he performed with grace and subtlety, never making a false move, either musically or visually. On some numbers he simply played guitar and sang, his lilting vocal sound interacting perfectly with his understated but vital chording. On other pieces he abandoned his seated position in favor of elegant movements around the stage... what was most impressive about the music, in total, was the fact that Veloso’s rich, poetic imagery was constantly illuminated by lovely melodies and irresistible rhythms." - Don Heckman, Los Angeles Times
"Caetano Veloso didn’t need the swell of a charismatic 12-piece ensemble, every man among them a virtuoso and dancer, too. He didn’t need light effects…If this summer evening... consisted solely of Veloso’s unpredictable antics, liquid voice and straightforward guitar, it would have been an aesthetically fortifying experience, the kind that leaves audiences with a satisfied glow of having done something meaningful." - Judith Lewis, L.A. Weekly
"... many [were] streaming out of a sold-out John Anson Ford Theatre in Los Angeles on Saturday night. That was where Brazilian singer-songwriter-philosopher Caetano Veloso turned in a scintillating, transporting set that once and for all established him as one of this era’s unsung musical innovators... Veloso took the stage looking like everyone’s favorite English professor. But few English professors can sing with as much lilting passion or write songs that so exquisitely combine he twin spirits of Brazilian music’s lively soul: Bossa nova’s shimmering melodic grace and samba’s African-inspired percussion." - Cary Darling, The Orange County Register
"... Brazilian singer/composer Caetano Veloso had two consecutive nights of sold out performance at the John Anson Ford Theater in Hollywood... Veloso justified why he is considered one of the biggest composers of the century. When we talk about samba, and its percussion, the Bossa nova, and its rhythm alongside his guitar… Veloso is the artifice of the rhythms sung in Portuguese that transformed this mixed classification, without them loosing its essence, its style and its beat..." - Nelly Apaza Retamoso, La Opinion
1997
"Caetano Veloso in concert is as good or better than Caetano Velos on record…Nothing could compare to the Caetano music that the audience grew up with. When he started performing some of his better-known selections, the crowd stood and sang with him... Veloso has actually achieved a very personal perfection, unwilling to compromise, and richly rewarding for himself and his audience." - Ernesto Lechner, Los Angeles Times
"A Night of luxury, impeccable!… With its intimate Brazilian style and Pan-American classics of "Fina Estampa", Caetano Veloso easily showed that the art can be popular and commercial... Genius is probably a strong word. Nevertheless this is the appropriate word to describe of this Brazilian artist..." - Luis Manuel Gonzalez, La Opinion
1996
"High-spirited musical energy was the order of the day... the capacity crowd’s revelry hit its peak in a climactic number by Josias & Sambrasil, a roaring samba that brought more than 100 fans to the stage..." - Don Heckman, Los Angeles Times
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