Two years after my first trip to South America, I ventured there again, this time to its eastern part—a completely different world as compared to the west, but equally fascinating in its own way. This time, my flight had no intermediate stops, and I found myself directly in Rio de Janeiro. What can I say? Ostap Bender was absolutely right when he dreamed of Rio. There’s much to admire, but let’s start from the beginning.
I stayed in a neighborhood called Santa Teresa, which turned out to be a great choice despite the commuting time. This area, which grew around a monastery founded in 1750 on a high hill, has retained the charm of a small town with colonial architecture and stunning views of the “lower” Rio. Today, it’s a bohemian district, one of Rio’s landmarks, and one of its most beautiful areas. Special tours are even organized here. The art museum Museu da Chacara do Céu, opened here in 1972, features works by Dalí, Picasso, Monet, and other renowned artists, along with Chinese sculptures from the Shung dynasty. The heart of Santa Teresa is Largo do Guimarães, a square with bars, restaurants, and souvenir shops.
One of Santa Teresa’s tourist attractions is the tram that still operates here—the last remaining tram line in the city. Descending the hill to Largo da Carioca square, it traverses its final stretch via the Acros da Lapa aqueduct. Also known as the Aqueduto da Carioca, this aqueduct was built in the mid-18th century to supply water from the Carioca River to the city for over a century before being converted into a tram bridge. The tram runs infrequently, about every 30 minutes to an hour, so long waits at the stop can be inevitable. When riding this tram, it’s best to sit or hold on tightly—ideally both—since it can lurch abruptly. Although my guidebook warned about pickpockets on this tram who might resort to using knives if resisted, the young hostel owner where I stayed simply shrugged off my concerns.
Descending to the lower part of the city on my first day in Rio, I headed to St. Sebastian Cathedral, the city’s patron saint, also known as the Metropolitan Cathedral. This cathedral resembles anything but a traditional church. Its enormous cone—designed by architect Edgar Fonseca and inspired by Mayan pyramids—rises 75 meters high with a diameter of 106 meters. Opened in 1979 after 15 years of construction, it can accommodate about 5,000 seated or 20,000 standing visitors. It features four narrow, rectangular windows stretching 64 meters high, with vibrant stained glass depicting the four main attributes of the church: one, holy, catholic, and apostolic. Above the altar hangs a massive crucifix suspended by six steel cables, with another large cross—a transparent skylight set into the roof—above it. Truly impressive.
Not far from Largo da Carioca square lies one of Rio’s most famous landmarks—the Selarón Steps (Escadaria Selarón). Created by Chilean artist Jorge Selarón, who worked on it from 1990 until his death in 2013, the staircase features 250 steps spanning 125 meters, covered with more than 2,000 ceramic tiles. You can climb these steps all the way to Santa Teresa. It’s colorful and interesting but it’s not as impressive as the ceramic-covered staircase of Santa Maria del Monte in Caltagirone, Sicily.
Just a ten-minute walk from the cathedral, you’ll find the Municipal Theater of Opera and Ballet of Rio de Janeiro (Theatro Municipal do Rio de Janeiro). This neo-Renaissance theater, built in 1909, boasts a city crest on its facade, a glass dome crowned by a golden eagle, rotundas, sculptures, and columns—a truly magnificent sight. Unfortunately, during my visit to Rio, guided tours of the theater were unavailable, so I missed seeing its luxurious interior. The decor features beige marble, green onyx, alabaster, gilding, and bronze. The theater also houses the Assírius restaurant, styled after ancient Persia and Babylon, as well as a café, but both were closed at the time.
The theater is located on Praça Floriano, part of a series of squares collectively known as Cinelândia —arguably the most beautiful architectural complex in Rio. In the early 20th century, a decision was made to transform the city center, resulting in a number of monumental buildings that became the political and cultural hub of Rio. In addition to the National Theater, the National Library, City Hall (Palácio Pedro Ernesto), and the Supreme Court (Tribunal Superior) were constructed. Nearby is the National School of Fine Arts, now the National Museum of Art. Cinelândia is also home to two statues: one of Marshal Peixoto, the second president of the republic, and another of 19th-century Brazilian composer Carlos Gomes. The area’s name, Cinelândia, originated when several of Rio’s finest cinemas were established here, though most have since closed. If you’re not staying nearby, the area is accessible by metro (stations Carioca or Cinelândia).
By day’s end, I set off for the Red Beach (Praia Vermelha) in the Urca district, to ascend the Sugarloaf Mountain (Pão de Açúcar). Thus, I avoided long lines for the cable car and was lucky to catch the final ride. The journey to the summit includes a stop at Mount Urca, where visitors can opt for a helicopter ride over Rio. What can I say? If you’re offered just one spot to visit in Rio, choose Sugarloaf Mountain. Words fall short in describing the breathtaking view of Guanabara Bay, its islands, straits, hills, and the cityscape—the view considered one of the best in the world. I left Sugarloaf reluctantly, knowing I was likely seeing this incredible beauty for the first and last time.
