My first encounter with the fado could not be better: The Anthology album Madredeus. Through the unique and harmonized Teresa Salgueiro's voice, I heard the sound and the story of the Portuguese melody has to Lisbon and the Alfama district, as their place of origin. Madredeus is also a particular example when talking about music. At least I checked after reading the notes I used to introduce Internet on my radio. They enjoyed a certain celebrity status in Europe and, which is almost the same fan used to well-prepared proposals in terms of music and interpretation.
Portuguese music remains largely unknown in Cuba as it is in other parts of the world. Little is known performers and groups from the Iberian country. So when in 2005 I attended the launch of Mariza , I was so surprised and embarrassed by so much ignorance.
Each country has its references melodious and divas. In Portugal, until the late 90's, Amalia Rodrigues embodied for most of his countrymen the spirit and the voice of fado. When I heard Mariza, I had not yet encountered any recording of the great Amalia. However, that did not stop after the concert I was telling Helena as a hasty assessment that anyone could not sing a fado.
A Mariza, for example, benefit from having an extraordinary voice, refined, powerful. In his performances notable for its ability to say and feel the text. She is above all an interpreter. May appear to be happy or sober for the occasion, but always remarkable for its intensity. I think the fado has, like the bolero, a unique covenant with sadness. There is a cult that makes you easy, but it seems from the premise that the scenes of heartbreak and impossible closer touch us because they remind us personal stories specific and joy, is sometimes as shareable and simple, we found too ordinary to us belongs.
With such a preamble, the concerts of the Mozambique-born Portuguese is not required of other additives. In addition to his excellent qualities as a singer, Mariza has a stage presence to be reckoned with. In either scenario, this woman extremely high, wearing huge skirts, reminiscent at times to certain images of apparitions and miracles. It is curious that production based on elements as simple win both spectacular. Mariza at the center, takes the iconic significance of any myth. If the interpreter
impressed by the way to transmit text and music, so does their frequent and vocal prowess. In usual gig to give away any of the subjects sang fado as tradition dictates, ie as if everything happened in a bar in Lisbon, where there are no microphones. This happened in late 2006 when Mariza sang for the first time at the Royal Albert Hall in London.
Before finishing his performance, the fado down to the audience and, in the euphoria of his countrymen and the surprise of many in the audience, gave a traditional fado. It would be very categorical if it accepted his voice filled the London Coliseum, as the dimensions of the RAH is virtually impossible for any human, not technical, can perform such a feat. However, the effort was not lost on the singer and his voice could be heard beyond the second circle, to the amazement of spectators perhaps accustomed to more restrained performances.
While I wait for new recordings, I would dare to call to Clear, the disc of 2005, as one of his most finished. Mariza has a peculiar way of choosing songs, their albums usually include popular fado with works of contemporary composers. On this album, was also responsible for the success the Brazilian Jacques Morelenbaum, who has produced albums by Caetano Veloso Tom Jobim, Gal Costa, Cesaria Evora, Ryuichi Sakamoto and Marisa Monte, among many others. With the addition of several instruments in addition to the classical guitar, contributed to the result was significant for both neophytes and connoisseurs. The album is an unusual approach to a traditional genre and a good example of the music of Portugal, less traditional and more modern, more diverse. Mariza thing that distinguishes his work is Lusitanian poets. In his recordings displayed the verses of Fernando Pessoa, the phantom of the opera adored Lisbon, as well as lesser-known authors. Desejos discovered in Clear Vaos (vain desires) of Florbela Espanca (1894 - 1930). I was attracted to this way of philosophizing poet, from simple and natural scenes, as the stones of the streets, trees and sunset in Lisbon, the city that the sun becomes colored when the lights and borders on the Atlantic overprotective zeal.
Since then there have been many meetings with the fado, but that's another story ... Desejos
Vaos
Florbela Espanca
Eu wanted to be arrogant or Sea freight
Let ri and sings, vastidão immensity! Eu
wanted to be a thought não Pedra,
A pedra do caminho, rude e forte! Eu
wanted to be or sun, bright light,
O bem do que é e não tem sorte humble!
I want to be awkward and tense Tree
What the world will laugh and even death!
But the Sea also cries of sorrow ...
Trees also as one who prays,
Open, to the heavens, his arms, as a believer!
And the sun, proud and strong, after a day
has tears of blood in agony!
And Stones ... these ... Tread them to everyone! ...
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