Nuno Roland was a popular singer during the Golden Age of Brazilian song. Beginning as a jazz crooner, he became the best singer of the city of São Paulo and also had several Carnival hits.

Joining the army, he was transferred to Porto Alegre RS, where he met Lupicínio Rodrigues (he would record the first composition by Lupi, "Lenita"). In his battalion there was a jazz combo, the Jazz do 7o. BC, which had him as crooner and Vidal (who would be one of the best upright bassists of his time) as tuba player. The Jazz do 7o. BC opened at Rádio Sociedade in 1933. Being discharged, Roland continued to sing at the Rádio Sociedade as Reinol de Oliveira for six months.

He was invited to go to São Paulo and arrived there in 1934. He performed in the Rádio Educadora Paulista, achieving a growing popularity, and recorded his first album in that year, for Odeon, with "Pensemos Num Lindo Futuro" and "Cantigas de Quem Te Vê," by Ulisses Lelot Filho. In three years, he was considered the best singer of São Paulo. At that time, he was already known as Nuno Roland, the stage name given by the radio's director, Rangel Moreira. At that time, Roland used to sing the repertory of Bing Crosby and Dick Powell at private parties. In 1936, he moved to Rio with Celso Guimarães and Sônia de Carvalho as the foundation of the Rádio Nacional, staying in that outing for many years. From 1937 to 1948, he worked as a crooner of the orchestra of Copacabana Palace. He then recorded "Quando O Luar Está Contente," followed by "Coitadinho do Pará." In 1937, he moved to Odeon where he recorded two hits: the samba "Amor Por Correspondência" (Benedito Lacerda/Jorge Faraj) and the valse "Iracema" (Benedito Lacerda/Aldo Cabral). He would stay in the company until 1940. In that year, he interrupted his discographical career, not returning until 1947 with a big Carnaval hit, the march "Pirata da Perna de Pau" (João de Barro). In 1948, he had another hit with "Tem Gato Na Tuba" and "Fim De Semana em Paquetá" (both by João de Barro/Antônio Almeida) and in the next year with "Tem Marujo No Samba" (with Emilinha Borba). He also had success with the anthems of Carioca soccer clubs Botafogo and Olaria, from the series composed by Lamartine Babo. He recorded the LP Nuno Roland Recordando for Todamérica. He also had success with the marchinha "Mag, Inês e Ana" (Jorge de Castro/V. Falcão/A. França). ~ Alvaro Neder, Rovi