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Died actress Maria Adelina, the name of the comedy, magazine and TV



Died actress Maria Adelina, the name of the comedy, magazine and TV

Born in Amadora on April 27, 1930, Maria Adeline Duarte excelled first in operetta and then in revue theatre, on a career of more than 40 years that began as a child with performances touring performances by northern entrepreneur Rocha Brito, completed in the early 1980s at the ABC Theater in Lisbon, in the magazine “Reviravolta”, according to information available in the database of the Center for Theater Studies (CET), Department of Literature, University of Lisbon.

His face, however, became known to the general public with the appearance of RTP in 1957, where he also said goodbye to the screens in 1990 in the TV series “Mistério Misterioso”.

Maria Adelina made her official theatrical debut in 1946, at the age of 16, in the operetta O passarinho da Ribeira at the Sa da Bandeira Theater in Porto. Prior to this, she had performed primarily as a singer, first on Rochi Brito’s tour of the country under the artistic name of Maria Dolly, which began when she was only 9 years old.

It was followed by theaters such as Casablanca, “where he shone in many numbers of the music hall”, until a new “tour” through the stages of the province, organized by businessman Giuseppe Bastos, began, according to the newspaper Vem there a Companhia do Teatro Apolo, quoted according to Central European time.

Her stage debut also coincided with her film debut as a teenager in Jorge Bruma do Canto’s Thief Needed!.. starring Maria da Graça and Virgilio Teixeira.

This was immediately followed by work in productions by the Teatro Variedades and Teatro Apolo before leaving for Brazil at the age of 17, when she began using her name Maria Adelina.

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On his return to Portugal, he began a journey dominated by comedy and revue theatre, always based in Lisbon, ranging from Mãos no ar!, which premiered in February 1954 at the Apolo Theatre, to the final performances of Reviravolta. , at the end of 1981

The operetta “A Rosinha dos limões”, also written by the former art society Apolo, the magazines “Casa da Sortu”, “Lisboa em festa!” and “Vamos à lua!”, all at the ABC Theatre, transported her to the late 1950s when she entered the Coliseu dos Recreios to stage “Há Feira no Coliseu”, a production by the company of Giuseppe Bastos and Vasco Morgado.

In the 1960s the magazine was a success, especially at the ABC Theatre, with productions such as “Acerta o Passo” and “Zona azul”.

At the time, Maria Adeline’s work also extended to comedy, such as in “Flausino, Homem de Letras” Companhia Teatro Alegre in the former Teatro Avenida and “A tia de Charley”, an adaptation of a text by Brandon Thomas. who was on the stage of the monumental theatre.

The magazine When She Undressed, another production by Giuseppe Bastos/Vasco Morgado, was first shown in Lisbon in early 1969, and the following year it went on a national tour after long seasons at the Teatro Sa da Bandeira, in Porto and at the Monumental in Lisbon.

In 1971 he returned to comedy with Jean-Pierre Gredy’s “Quarenta carats” and then Mary Coyle Chase’s “Pascoal” with the Teatro Villaret team founded by Raul Solnado.

The return to Parque Mayer happened in the magazine “Desculpa, Ó Caetano!” In Variedades after the fall of the dictatorship, before returning to musical theater in Felizardo e Companhia, modas e confecções by Raúl Solnado and Pedro Bandeira. Freire, adaptation of Eduardo Schwalbach’s play “Anastasia and K.ª Lda.”

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The farewell to the stage took place in the magazine of Eduardo Damas, Eugenio Salvador and Manuel Payao “Reviravolta”, which reopened the ABC Theatre, closed since last year, and which marked the debut of young actors such as Fernando Mendez.

Maria Adeline was then a little over 50 years old, and she had a career equally in film and television.

In film, he appeared with Amalia Rodriguez in “O fado corrido” (1964), Jorge Brum do Canto, with Tony de Matos and Io Apolloni, in “Derrapagem” (1974) by Constantino Esteves, with Fernanda Lapa, Rogerio Paulo. and Curado Ribeiro in Recompensa (1978), Artur Duarte’s last film, and with Carlos Verissimo and María Helena Matos in Teixeira da Fonseca’s The Devil Descended into the Village (1979).

He participated in the first programs created by RTP such as A Loja da Esquina (1957), Café Concerto (1958) and Rua Musical (1964). He was also the face and voice in many broadcasts of the Melodias de Semper in the 1960s and in “theater nights” on public television in productions such as “Um melro branco” (1964) by Fernando Frazao.

He also returned to the “small screen” in later programs such as E o Resto São Cantigas (1981) by Raúl Solnado, Carlos Cruz and Fialho Gouveia.

The farewell took place in the series “The Mystery of Mystery”, which premiered on RTP in 1990, where he played one of the main roles, along with actors such as Octavio Matos and Lourdes Norberto, and young revelations such as José Raposo and Maria Joao Abreu.

Maria Adelina Duarte was married to tenor Domingos Marquez (1924–2012).

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RAMMSTEIN @ Estádio da Luz, Lisbon




Four years have passed since Stadium tour belonging RAMMSTEIN started in Germany. Much more since the itinerary was originally announced, and given the pandemic, it has been just under 365 days since tickets for the Portugal concert went on sale. However, after such a long wait for the return of the German band to the national soil, the day finally came when the titans of industrial metal honored us with their presence again. It was the stadium debut of a band that first visited us with two performances in 1998 at Paradise Garage and Hard Club and the national audience saw it grow step by step. Despite the absence we’ve been left with for the past decade (the last show here dates back to 2013 at the then Pavilhão Atlântico), the arrival of the Germans turned Lisbon into a black sea. In fact, a simple trip to the supermarket in the morning would be enough to realize that people from all over the country (and not only) have gathered there, the Portuguese almost all with backpacks on their backs, converging to host a group that is about to celebrate three decades careers. According to some, recent accusations that Till Lindemannthe band’s lead singer, has become the subject of much conversation on social media and the media in recent months – a story unfortunately repeated in the entertainment world.

Let’s face it, it was the national date for the third route Stadium tour on the Old Continent RAMMSTEIN arrived in Portugal in disgrace rather than grace. Even so, the metro ride to Estádio da Luz was electrifying. Inside, we were greeted by a sea of ​​people all along the useful perimeter, with bars packed to capacity and a cool breeze that began to rise in the late afternoon, chasing away any shadow of a potential stadium elephant. Whether you think about it or not, or realize that the future seems increasingly uncertain for the band (or for the band with Till), the truth is that everything is set to welcome you with open arms. You can understand why if you look ahead. A gigantic stage dominates the stadium with several towers dotted across the lawn. Up there, the gray sky is preparing to receive all the explosives that will be detonated all night. Let’s face it, it’s not every day that we go to a show where we have to spend a few very long minutes to even grasp the size and scope of everything that lies ahead of us. And yes, even though the lineup had been circulating widely since the start of the tour, expectations were still high for it. performance in itself. But let’s start because this scene is really impressive; built to recreate an impressive dystopian cityscape that could very well have emerged straight from the classic silent “Megapolis”from Fritz Lang, which is easily confused with the futuristic structure of the current SLB home. Result with the French ABELAR playing piano versions of the classic headliners (on a dais at midfield left), it was just right for a band with such a penchant for imposing, dramatic gestures to shine in all their glory.

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We could try to distort the text as much as we like, and at times it may even seem pointless to write about a show of force like that RAMMSTEIN. They are a HUGE, fiery band when needed; the choreography is thought out to the smallest detail – and, in truth, they have set the standard for what a great concert can be over the past two decades. with every tour becoming even larger and more imposing than the previous one, by this time nothing will allow them to give anything but an exceptional concert. Despite the restrictions, this unmissable event of the year also proved to be no exception to this rule, and once again the idea that no one represents a live show like these people was strengthened. The main export of German metal became famous for two reasons; they cause more explosions than a fireworks factory fire and play music at such a volume that it can often be heard 17 kilometers from where they play. Well, the same thing happened here, with a powerful and loud sound (perhaps too low in the place where we were present at the concert), well supported by sound towers strategically placed so that everyone can hear everything in loud and clear sound. . With the volume pumped up, you could feel the bass rumble through the foundation of the stadium. Taken into account: nothing much has changed on the stage since we last saw them, but everything has gotten bigger, much bigger.

01. ram song | 02. Links 2-3-4 | 03. Punish me | 04. Poisonous | 05. Yearning | 06. My heart burns | 07. Puppet | 08. angst | 09. Time | 10. Germany | eleven. Radio | 12. my part |13, Do you have | 14. sonne /// Anchor 1 /// 15. Engel | 16. Foreigner | 17. You smell so good | 18. Without you ///Bis 2/// 19. Rammstein | 20. I want | 21. Goodbye

Four minutes late – 9:34 p.m. seems to have been strategically chosen to ensure that the musicians would only take the stage at night – and the stadium went dark. To the sounds “Music for the Royal Fireworks”now made an anthem RAMMSTEIN, the group’s symbol hangs on the screen of the structure’s giant central tower. The stage lights up as we see Lindemann being lowered in the elevator. The first flames appear and RAMMSTEIN start engines, as is known, with the help of “Rama Song”. Cell phones stay in the air, capturing the moment, but bodies move to the sound of always benevolent “Links 2-3-4”with priceless Christian “Doctor Flake” Lorenz to remain unstoppable on the treadmill next to the keyboard, while the audience alternately dances and shakes their heads, lulled by undeniable hooks. Journey into the past withPunish me” e”Yearning“, how in “poisonous” in the middle of the passion subsided a little. This or all approached what he saw. After that there is a feeling “My heart burns” and alivePuppet” they made everyone sing in unison again. For two hours, the sold-out crowd at the Estádio da Luz not only saw the band play some of their greatest hits. It really happened. Played almost all big games hitsA “Germany”A “Do you have”A “My Part”A “Sonne”A “I want” and even the song of the same name, but it was the show itself – performance – which turned out to be completely out of this world.

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The level of pyrotechnics is indescribable: Lindemann wears a wheel on his back, spewing fire in all directions, and the guitarists Paul Landers e Richard Kruspe armed with two huge flamethrowers attached to their guitars and firing huge flames. There are more innocent things like huge guns confetti which envelop the entire stadium with paper tapes. And everywhere there is fire, a lot of fire. At times, heat was felt on the face, anywhere from the lawn to the stands farthest from the main structure, and waves of pyrotechnics lit up not only the stage, but also the four towers that towered above the crowd and left them. dark puffs of smoke hang in the sky. There was literally a feeling that we were among the rubble of some devastated post-futuristic city. Then there were more earthy things, with a small stage arranged in the middle of the hall (slightly to the left of those who are facing the stage), where musicians joined the crowd. ABELAR interpret “Engel”, which opened the first Encore. After that, the band members returned to the main stage in inflatable rubber boats and attacked the luxurious trio, consisting of “Foreigner“,”You smell so good»e«Without you“. in a second bis planned, but still very much in demand) there was still time to listen to “Rammstein“,”I want“and, at the moment of farewell, very appropriate”Goodbye“.

The images in the gallery are from GEORGE BOOTS.

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Exposed. Images Proving Thiago Rodriguez Wasn’t Defeated, He Just Fell



Exposed.  Images Proving Thiago Rodriguez Wasn't Defeated, He Just Fell

Brazilian actor Thiago Rodriguez, 42, was exposed by CCTV footage near the site where he was allegedly attacked and robbed. After all, he had just fallen from the structure on which he was sitting, and hit his head and face on the ground, which led to injuries.🇧🇷 He ended up lying on the floor for about 30 minutes until he was rescued by two people passing by who helped him. The case angered the Brazilians.

Thiago Rodriguez Injured” data-title=”Thiago Rodriguez Injured – Exposed. Images Proving Thiago Rodriguez Wasn’t Beaten, He Just Fell – MAGG”>

It was the Brazilian Civil Police itself that released the CCTV images showing that the thesis defended by the Brazilian actor, who is currently starring in the TVI soap opera Quero É Viver, is not true. Police Chief Bianca Lima confirmed to Record TV’s Domingo Espetacular that the fall was the cause of the actor’s injuries, not the robbers’ aggression.

The images were captured by cameras at a commercial establishment located in Plaza Santos Dumont in Rio de Janeiro, 200 meters from the Jockey Club where Thiago went to party and was expelled from. According to the records, it was 5:40 in the morning when the actor sat on a metal structure, which is located in the square, lost his balance and fell face down on the ground. Only at about 6:10 am he was rescued by two people passing by. However, it is not clear if these people stole the actor’s mobile phone, which has since disappeared, or if Thiago simply lost it in the fall.

The fall of Thiago Rodriguez” data-title=”The fall of Thiago Rodriguez is a revelation. Images Proving Thiago Rodriguez Wasn’t Beaten, He Just Fell – MAGG”> The fall of Thiago Rodriguez

As a result of the fall, the actor received cuts on his head and was even forced to put a few stitches on his head. After that, Thiago went to file a complaint with the police, claiming that he was attacked and robbed by criminals. But that theory didn’t make much sense as the actor still had the wallet and backpack he had that night. “A backpack with things, a wallet and a rope were with him. And we wondered if anyone who goes for such violence would take only a mobile phone,” the police chief explained.

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After all, Thiago Rodriguez was not beaten. The actor will be left alone – News



After all, Thiago Rodriguez was not beaten.  The actor will be left alone - News

Brazilian authorities have denied the story of an alleged attack that allegedly targeted Thiago Rodriguez. The police, agreeing with the video, which is already circulating on social networks, indicate that the actor did fall alone.

Security cameras in buildings near where Thiago Rodriguez was found show him sitting on an iron and falling forward moments later.

The G1 website guarantees that the authorities will suspend the investigation into a possible robbery, given that “the investigation has proven the absence of criminally significant facts.”

However, it is still necessary to understand where the actor’s mobile phone is located. The police, according to the same media, are trying to understand if it was stolen when Thiago was lying on the ground unconscious.

Recall that the 42-year-old artist said that he was robbed at the exit of a bar in Rio de Janeiro.

Thiago Rodriguez is part of the cast of the soap opera Quero É Viver currently airing on TVI.

Watch the video below, published by the Brazilian press, in which you can see the fall of the actor.

Read also: First images of Thiago Rodriguez after brutal attack

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