The backstage professionals

Gil has always had managers and producers that appreciated the artistic value of his work. With the creation of Gege Produções, the structure only grew stronger.

By Instituto Gilberto Gil

Text: Tito Guedes, music researcher

Ever since the first medias, in order for artists to expand the circulation boundaries of their work, they are required to know how to insert it within a process that engages a large supply chain that encompasses the phonographic industry, the entertainment market, the association with companies, and press promotion. The challenge rests precisely in keeping art as protagonist in a maze of media and marketing possibilities. Singer and songwriter Gilberto Gil has always taken care to establish partnerships with professionals that would appreciate the value of his work. Managers, producers, administrators and assistants that see behind the curtain work as a potentiating force of his creation.

O produtor musical Guilherme Araújo na década de 1960 (Década de 1960)Instituto Gilberto Gil

Guilherme Araújo, the first of them

One of his first managers, in the very beginning, was Rio de Janeiro-born Guilherme Araújo, in 1966. Interested in theatre and TV direction and at the time working as an assistant at Elenco record label, Araújo managed the first years of Gil’s career.

Gilberto Gil com amigosInstituto Gilberto Gil

Araújo also managed the career of his Bahia-born colleagues Caetano Veloso, Gal Costa, and Maria Bethânia, musicians that were also starting around the same time.

Cartão de aniversário de Guilherme Araújo enviado a Gilberto Gil Cartão de aniversário de Guilherme Araújo enviado a Gilberto Gil (6/26/2004)Instituto Gilberto Gil

Cultured and with a strong temper, Guilherme Araújo would not limit his scope within the logistics or market tasks, and would also get involved in the artistic choices of his clients—to the extent that he was considered a co-creator of Tropicália.

Gilberto Gil com Flora, Dedé Gadelha e Guilherme AraújoInstituto Gilberto Gil

Guilherme got involved in the creative choices of costume design and repertoire and became not only a manager but a reference to the young singer and songwriter from Bahia who was still beginning to write his name in the history of Brazilian music.

Alô, alô Tia Léa! [“Hello, hello, Aunt Léa,” in a literal translation. It is a verse from Jorge Bem Jor’s song “W/Brasil”.]

Another important character of this time is Léa Millon, aunt of Sandra and Dedé Gadelha, wives to Gilberto Gil and Caetano Veloso, respectively. When they both left for exile in London, in 1969, forced by repression of the military regime then running Brazil, it was Léa who was in charge of sending to England the profits of royalties over albums selling in Brazil. These money wires were Gil’s living during the first years of the Londoner exile.

Gilberto Gil e amigos na década de 1960Instituto Gilberto Gil

Aunt Léa pictured in a verse

Even after that period, she continued to work in this capacity and became a proxy for Gil and other artists for a long time. Her prestige in the show business was such that, in 1991, she was immortalized in the verses of “W/Brazil,” by singer and songwriter Jorge Ben Jor.

Gilberto Gil e Jorge Ben Jor na época da Tropicália (1968)Instituto Gilberto Gil

Alô, Alô tia Léa / Hello, hello, Aunt Léa
Se estiver ventando muito / If it’s too windy
Não venha de helicóptero / Don’t ride the helicopter

Lea Gadelha Millon e Gilberto Gil durante apresentação do show Concerto de Cordas (Novembro de 2009)Instituto Gilberto Gil

Gilberto Gil com Daniel Rodrigues em foto de divulgação do álbum Realce (1979)Instituto Gilberto Gil

Daniel Rodrigues

After Guilherme Araújo left, in the mid-1970s, Gilberto Gil met yet another fundamental character for his career. Daniel Rodrigues started out as an assistant, in the production of Refavela album from 1977, and became his manager.

Gilberto Gil e Daniel Rodrigues na década de 1980Instituto Gilberto Gil

Soon, Daniel also became a tour manager on several international tours, at a moment when the Bahia-born singer had already stopped being a promise of Brazilian music to turn into a pop artist of broad reach and international reputation.

Flora Gil e Daniel Rodrigues na década de 1980 durante turnê de Gilberto Gil nos Estados Unidos (1985)Instituto Gilberto Gil

With Daniel, in 1978, Gilberto Gil founded his own company, Gege Produções Artísticas, up to this day in charge of managing his career as well as many other artists’. A newcomer into his life, his wife Flora Gil started working in collaboration with Daniel.

Flora Gil na estréia do show Gil canta Bob Marley, no Canecão (2002)Instituto Gilberto Gil

Flora Gil, a life and work relationship

Married to Gilberto Gil since 1981, producer and manager Flora Gil had taken over the direction of Gege Produções Artísticas in 1982, first working with Daniel Rodrigues and later on her own, turning into a fundamental name in Gil’s career to this day.

Flora Gil na estréia do show Gil canta Bob Marley, no Canecão (2002)Instituto Gilberto Gil

One of her greatest legacies as a manager is the legal battle over the rights of Gil’s songs. Currently, the artist owns everything he ever produced, since the beginning of his career.

Gilberto Gil entre Flora, Bem e Preta Gil para a divulgação da segunda temporada do programa Amigos, Sons e Palavras, exibido pelo Canal Brasil (2019-06-17)Instituto Gilberto Gil

Apart from being Gil’s manager, Flora also runs the rehearsal and recording studio Palco, the Geleia Geral record label, which released part of Gil’s latest discography, and helped boost the careers of other artists, such as Preta Gil, AfroReggae, among others.

Gilberto Gil e Flora Gil durante desfile do camarote Expresso 2222 (2014-03-02)Instituto Gilberto Gil

She is also ahead of Camarote Expresso 2222, since 1999 a hot spot in Salvador’s Carnaval, and of Jangada, a marketing digital agency.

Current structure

Currently, Gilberto Gil works with a team of well-established professionals who daily manage the numerous projects in which he takes part. The musician himself cares for the administrative and corporate aspects of his career and oversees all decisions. According to Flora Gil, “concerts are only agreed to with his endorsement.”

Cristina Doria e Gilda Mattoso nos bastidores do show Kaya N'Gan Daya, de Gilberto Gil (2002-08)Instituto Gilberto Gil

Gilda Mattoso, friend and assistant

Last wife of the poet and songwriter Vinicius de Moraes (1913–1980), and with a background in record labels, Gilda Mattoso became a legend in the music business for her work with big names in Brazilian popular music, such as Maria Bethânia, Caetano Veloso, and Tom Jobim.

Chegada de Gilberto Gil e equipe a Paimpol, na França, durante excursão da turnê OK OK OK Chegada de Gilberto Gil e equipe a Paimpol, na França, durante excursão da turnê OK OK OK (2019-08-02)Instituto Gilberto Gil

Since the 1990s, Gilda Mattoso, who runs her own company with business partner Marcus Vinicius, is public relations for Gil, and has the musician as one of her regular customers. Polyglot and well-connected, Gilda also works in the international tours.

Chegada de Gilberto Gil e equipe a Paimpol, na França, durante excursão da turnê OK OK OK Chegada de Gilberto Gil e equipe a Paimpol, na França, durante excursão da turnê OK OK OK (2019-08-02)Instituto Gilberto Gil

Gege Produções, the office

Core in the management of Gilberto Gil’s career, Gege Produções Artísticas currently has a team of professionals that have been working with Gil for years and, if those who were not family members before, have come to be through the affectionate relationship at work.

Maria Gil, filha de Gilberto Gil, e Fafá Giordano, produtora executiva do artistaInstituto Gilberto Gil

A family business

Fafá Giordano, Flora’s sister, is the company’s executive producer—the one who sets the stage and puts concerts and further projects of the artist into motion. By her side, Gil’s daughter Maria Gil runs the logistics for national concerts and tours.

Gilberto Gil com a filha Maria Gil e o arquiteto Giaccomo Pirazzoli em encontro de Natal na casa de Araras (Dezembro de 2019)Instituto Gilberto Gil

During the time Gil was in the Ministry of Culture (2003–2008), Maria acted as an aid in the exchange between the politician and the artist. She currently accompanies her father on national and international tours.

Gil e Meny Lopes, nos bastidores do Festival Back to Black, em agosto de 2011, no Rio de Janeiro. (2011-08)Instituto Gilberto Gil

At Gege, producer Meny Lopes (1956 - 2022) is in charge of national and international tour deals.

Cartão de aniversário de Meny Lopes enviado a Gilberto Gil (2002-06-26)Instituto Gilberto Gil

Gilberto Gil ao lado de sua banda e equipe técnica nos bastidores de show da turnê Fé Na Festa em Amsterdã (2013-07-16)Instituto Gilberto Gil

When Gil is touring abroad (which he does at least once a year), American Jerry Marques works as producer and tour manager, running the crew all over the world.

Gilberto Gil e Flora Gil com as advogadas Eveline Alves, Ana Trajan e Sandra Fernandes nos bastidores do show Gilbertos Samba (2014-04-05)Instituto Gilberto Gil

Other employees of Gege Produções are Christyane Gusmão (accounts payable), Eveline Alves (Gege’s record label and management of royalties). and Marina Mattoso (social media).

Vinicius França, empresário de Chico Buarque, com Gilda Mattoso e Marina Mattoso, assessoras de imprensa de Gilberto Gil, durante gravação da música A Mão da Limpeza para trilha sonora do filme Rio, Eu Te Amo (Novembro de 2013)Instituto Gilberto Gil

Gilda Mattoso’s daughter, Marina, is Flora Gil’s business partner at Jangada, a marketing digital agency in charge of Gil’s and others social media management.

Additional staff

In addition to this team, who works on a daily basis at the office and tours, Gilberto Gil also has the support of a number of occasional professionals, working as freelancers for specific projects.

Flora Gil e Cristina Dória nos bastidores do show de Gilberto Gil no Farol da Barra (2001-12-31)Instituto Gilberto Gil

Such is the case of producers and journalists Andrea Franco and Cristina Doria (in the picture with Flora), and visual artist André Vallias (who has created several visual pieces for Gil, such as the book cover for Gil60 and the album covers for Camarote and Trio Expresso 2222).

Colagem em acrílico com imagem de Gilberto GilInstituto Gilberto Gil

Same goes for architect Nelci Frangipani, coordinator of Refazenda, a web design company. She is responsible for content creation for travelling exhibitions and projects.

Credits: Story

Exhibit credits

Text and research: Tito Guedes
Assembly and editing: Chris Fuscaldo
Copyediting: Laura Zandonadi


General credits

Editing and curation: Chris Fuscaldo / Garota FM 
Musical content research: Ceci Alves, Chris Fuscaldo, Laura Zandonadi and Ricardo Schott 
Ministry of Culture content research: Carla Peixoto, Ceci Alves, Chris Fuscaldo 
Captions: Anna Durão, Carla Peixoto, Ceci Alves, Chris Fuscaldo, Daniel Malafaia, Fernanda Pimentel, Gilberto Porcidonio, Kamille Viola, Laura Zandonadi, Lucas Vieira, Luciana Azevedo, Patrícia Sá Rêgo, Pedro Felitte, Ricardo Schott, Roni Filgueiras e Tito Guedes 
Data editing: Isabela Marinho and Marco Konopacki
Gege Produções Review: Cristina Doria
Acknowledgements Gege Produções, Gilberto Gil, Flora Gil, Gilda Mattoso, Fafá Giordano, Maria Gil, Meny Lopes, Nelci Frangipani, Cristina Doria, Daniella Bartolini e todos os autores das fotos e personagens da história
All media: Instituto Gilberto Gil
*Every effort has been made to credit the images, audios and videos and correctly tell the story about the episodes narrated in the exhibitions. If you find errors and/or omissions, please contact us by email atendimentogil@gege.com.br

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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A musical journey into the sound of Brazilian icon, Gilberto Gil
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