Carvalho was raised in a middle-class family in
Rio de Janeiro's
South Zone. Her father, João Francisco Leal de Carvalho, was a
lawyer. She grew up influenced by different types of music. Her father used to take her to
samba school rehearsals, and her mother was a lover of
classical music who encouraged her to become a
ballerina. She started playing the guitar as a teenager and got involved with the emerging
Bossa Nova movement, winning a nationwide song contest on TV at the age of 19. Following a 1967 album, "Muito Na Onda," with the project 'Conjunto 3D,' Carvalho did her first solo record, 1968's "Andança", and carried the song of the same name to victory in a larger festival, which brought her to prominence. Although she started her career with Bossa Nova, that was an ephemeral phase which lasted less than one year. Beth started dedicating herself entirely to
samba just as her fame began, working with legendary composers such as Nelson Sargento. Carvalho is regarded as a significant figure in the history of samba, particularly for recording and helping bring wider attention to composers such as
Cartola,
Nelson Cavaquinho, and
Guilherme de Brito during periods when their work received less recognition. Many of her recordings include compositions by these artists, as well as by other sambistas such as
Nelson Sargento and members of the Old Guard of Portela. Although she was associated with the samba school
Estação Primeira de Mangueira, she also recorded numerous works by composers linked to
Portela, another traditional samba school in
Rio de Janeiro. Later, in the late 1970s and early 80s, Beth helped bring to the public the work of other rising
pagode artists from
Cacique de Ramos, such as
Almir Guineto,
Jorge Aragão , and the
Fundo de Quintal group. Then, in 1983, she introduced
Zeca Pagodinho , who would become the major samba name of the 90s. Carvalho always tried to bring underrated composers the recognition they deserve, and she is regarded as
madrinha do samba (the godmother of samba). She played a role in the modernization of samba in the 80s, and at the same time rejected commercial pop trends in samba arrangements, preserving tradition. In the 1990s, Beth's popularity wasn't the strongest, but she was always popular. She recorded an album dedicated to the samba from
São Paulo, rejecting the famous axiom that "São Paulo is the grave of samba". In 1998, she recorded an album dedicated entirely to the
pagode classics,
Pérolas do Pagode (Pagode Pearls). After 2000, Beth released CDs and DVDs. During a 40-year career, she was a figure in Brazilian culture and a female sambista with a large body of work. Other artists in the genre include
Clara Nunes and
Daniela Mercury. Carvalho died at 72 of sepsis. Her death was mourned by many of her fellow Brazilian musicians. Former president
Dilma Rousseffsaid that Carvalho leaves "an important legacy of identification with the causes and struggles of the people". Beth Carvalho is depicted in the 2022
documentary film Andança - Os encontros e as memórias de Beth Carvalho, directed by Pedro Bronz. ==Trivia==