Elis Regina(1945-1982)出生于巴西南部城市Porto Alegre的Elis Regina，11岁便在电台步入她的歌唱生涯。1959年她来到里约热内卢正式签约了Rádio Gaúcha电台从而开始了她的第一份工作。1961年发行了第一张LP《Viva a Brotolandia》。回到Porto Alegre之后一直到1964年期间，她曾在一家著名的Bossa Nova夜总会唱歌，同时她又被电视台雇佣与当时其他一些著名的音乐家如Jorge Ben、Wilson Simonal等同台演出。1965年在巴西首届流行音乐节上的演出真正令Elis Regina在国内被认知，尔后不久与Jair Rodrigues共同合作录制了《Dois na Bossa》，并一同参加了巴西当时一档知名的专门推出音乐家及其音乐的电视节目。就在那之后Elis Regina的音乐事业正式得以腾飞，她1966年的专辑《Elis》收录了第一张专辑中由Milton Nascimento写的歌曲[Cano do Sal]，于是也因此她的成名带出了象Milton Nascimento、Ivan Lins ("Madalena")、Tavito/ Zé Rodrix ("Casa no Campo") 、Belchior ("Como Nossos Pais")等一批音乐创作人。Elis Regina开始更频繁地参加一些音乐节的演出活动，以及诸如为了保护巴西音乐反对外国音乐的入侵、反对电吉他等一些音乐运动。1969年当她的欧洲及拉美巡回演出结束后，她的国际地位得以越发的巩固，她最重要的专辑之一——与Tom Jobim合作完成的《Elis e Tom》在美国问世。1979年，她参加了瑞士的一个爵士音乐节，同年由Aldir Blanc和Joo Bosco为她录制了另一伟大专辑之一的《O Bêbado e a Equilibrista》，这两位优秀的音乐人为她写出了很多首著名的歌曲，如[Caador de Esmeraldas]，[Mestre-sala dos Mares], [Dois pra Lá, Dois pra Cá]... 1982年1月19日当这位正展望着未来一切如新生活时的女子却因药物中毒去世于家中，那年，未满37岁。当全世界都在关注巴西的国内局势，而最后被传唱的却是政治意识并不浓的波萨诺瓦。它就像是硝烟之中传来的清新的吟唱，代表着人们渴望自由的倾向。在整个波萨诺瓦的历史中，Elis Regina是非常重要的一位，她的一生并不得志，由于受到威胁，在国内她一度屈服于暴政，这段经历一直使她郁郁寡欢而喜怒无常，并早早地离开了人世。 by John DouganTemperamental and moody, capable of fits of extreme generosity that could quickly turn into moments of rage-filled paranoia, Elis Regina was one of the most ferociously talented singers to emerge from Brazil. A perfectionist who was frequently dissatisfied, Regina drove herself and members of her band relentlessly, leading to her being dubbed Hurricane and Little Pepper by musicians and music journalists. Her tempestuous nature aside, she commanded the respect of Brazils leading songwriters, who lined up for the chance to have her record one of their songs, and for much of her short life was the countrys most popular female vocalist. Born Elis Regina Carvalho Costa in Porto Alegre in 1945 to a working-class family, Regina began singing professionally at age 12 on a childrens television show called Clube de Guri. For the next two years she was a regular performer on the program and became a local celebrity. It was during this period that she signed her first recording contract at the age of 13. At 15 she relocated to Rio de Janeiro, where she recorded the first of three records, returning to Porto Alegre between each. Her initial recordings sold well and she was soon a teenage star, as well as the familys principal breadwinner. In 1963, at the age of 18, Regina and her father, in a move designed to further her career, relocated to Rio. Unfortunately, it was around this time that a military junta took over control of the country. Not long after her move to Rio, Regina became a fixture on Brazilian variety shows. Although the cool, supple, jazzy bossa nova sound was in vogue at the time, Regina preferred more raucous rhythms and full-throated singing. Adding to this was her dynamic, unsophisticated stage presence (which belied a career-long battle against near-paralytic stage fright) that, in American terms, might be best understood if one thinks of the tornado-like force that Janis Joplin could unleash. In 1965, Regina sang the controversial (and nearly censored) song Arrastao at Rios first big popular music festival. In a performance that may well have been the defining moment of her career, she posed in Christ-like crucifixion, tears streaming down her face at the songs conclusion. From that moment on, her popularity rocketed; she went from being one of many successful Brazilian singers to the most popular and highest-paid singer in the country — at the age of 21. Although not as overtly political as other singer/songwriters of her generation (e.g., Caetano Veloso, Gilberto Gil), Regina was not shy about criticizing Brazils military rule. While touring Europe in 1969 she told a journalist that her country was being run by guerrillas. Normally this sentiment would lead to either jail or exile (or both in the case of Gil and Veloso), but Reginas enormous popularity protected her somewhat from any public government retaliation. However, the military junta used more insidious strong-arm tactics, such as forcing her to sing the Brazilian national anthem at a ceremony to celebrate the anniversary of the countrys independence. She was roundly attacked by leftist performers for such a public display of pro-government sentiment, and it was years later that her husband revealed that she was threatened with jail if she did not comply with the governments wishes. As the mother of a young child at the time, Regina could not afford to become a martyr. Reginas career showed no signs of slowing as the 1970s came to a close; some of her best records were recorded during this time, and one album simply called Elis & Tom (recorded in Los Angeles with Antonio Carlos Jobim) has been called by many journalists and musicians one of the greatest Brazilian pop records ever made. However, while her career was in full swing, her personal life was in disarray — two marriages ended in divorce, and she was raising three children as well as providing for her parents. In the late 70s, after the end of her second marriage, she began using cocaine regularly, but managed to keep her increasing dependence on the drug well hidden from her friends and family. Regina began 1982 by marrying for a third time, signing a new recording contract, and in general, planning for the future. All of this came to a halt on January 19, 1982, when she was found dead of alcohol and cocaine intoxication at age 36. Initially, her death was rumored to be a suicide, but there is no evidence indicating that it was anything more than a tragic accident. A few days after her death, a memorial concert was held in São Paulo featuring many of Brazils most famous singers. Over 100,000 grieving Brazilians came to pay their final respects to this gifted, mercurial singer who remains as popular after death as she was in life.