Musical Sidewalks: “Feitiço da Vila by Noel Rosa”

This sign is part of the Rota do Samba de Vila Isabel – Os Três Apitos circuit. Click here to access the interactive map with all the locations and discover this and other circuits.

The Vila Isabel neighborhood features a Portuguese stone sidewalk along Boulevard 28 de Setembro, an important cultural heritage site in the city. Designed by architect Orlando Magdalena, the project was inaugurated in 1965 during the city’s fourth centenary celebrations. Vila Isabel was already famous as a bohemian neighborhood at that time due to its residents, including composers Noel Rosa, Orestes Barbosa, João de Barro, and Almirante. Almirante selected the songs that would become known as the “musical sidewalks of Vila Isabel.”

In total, there are nineteen musical scores distributed between Praça Maracanã and Praça Barão de Drummond. The march “Cidade Maravilhosa” by André Filho kicks off the series, followed by nine songs on each side of the avenue. These include classics such as “O Abre Alas” by Chiquinha Gonzaga; “Pelo Telefone” by Donga and Mauro de Almeida; “Aquarela do Brasil” by Ary Barroso; “Carinhoso” by Pixinguinha and João de Barro; “Chão de Estrelas” by Orestes Barbosa and Sílvio Caldas; “Na Pavuna” by Homero Dornellas and Almirante; and “Renascer das Cinzas” by Martinho da Vila. The last one is located in Praça Barão de Drummond. A highlight is “Feitiço da Vila” by Noel Rosa and Vadico. It is installed in front of the Atlética Vila Isabel Association.

“Feitiço da Vila” is one of Noel Rosa’s most emblematic compositions and has become an anthem for the neighborhood. It emerged from the context of the famous musical dispute between Noel Rosa and Wilson Batista—a notable episode in the history of Rio de Janeiro samba. Batista started the “feud” with “Lenço no Pescoço” (“Neck Scarf”), to which Rosa responded with “Rapaz Folgado” (“Lazy Boy”). Batista then released “Mocinho da Vila,” to which Rosa responded with “Feitiço da Vila,” a passionate defense of the neighborhood. Batista reacted with “Conversa Fiada,” and Rosa responded with “Palpite Infeliz.” Batista continued the exchange with “Frankenstein da Vila” and “Terra de Cego.” The clash ended symbolically with “Deixa de Ser Convencida,” composed jointly by the two artists about Ceci, Noel’s great love, who was the central figure in this story of music, bohemian life, and the cultural identity of Vila Isabel.