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| Amalia Rodrigues - The Essential Collection [ CD ] (2005 г.) |
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Union Square Music Ltd.
ЦЕНА 24.00 BGN |
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Track List
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| 4 |
Eu Queria Cantar-te Un Fado |
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Among icons of 20th century music, few can hold a candle to the legendary Amália Rodrigues. Long before it became fashionable for pop stars to be known by their first name only, everybody in Portugal knew exactly who you meant by ‘Amália’. In a career that lasted over half of that century, her name became synonymous with fado – Portugal’s bittersweet, melancholic answer to the blues. She helped transform it into the style we know today, which at her death in 1999 – marked by three days of national mourning in Portugal – was undergoing a miraculous revival.
Several songs on this CD have been reinterpreted by the new generation of fadistas, all of them in some way inspired by Amália. The material comes from the earliest years of her recording career, and includes songs from the very first sessions she did in Rio de Janeiro in 1945, on into the early 1950s, when her talent was in full flower. There are even three songs in Spanish, all of which she manages to imbue with such a strong fado sensibility that they could almost be fados. They certainly fit in with the general theme of how fado helps one to alleviate the existential pain of living. Amália lived to sing and it shows in her unrivalled legacy of recordings.
1. Tudo Esto E Fado (‘All of this is fado’)
One of Amália’s best known songs, which gives a pretty concise definition of what fado is:‘Fado is all the things I want to forget, and all the things I can’t live without. It’s the places I don’t want to be but I’m still in … a crying guitar, a very, very important love… All those sad things and happy things. Fado is all of that, and more!’
2. Há Festa na Mouraria (‘There’s a festival in Mouraria’)
This rustic bairro (neighbourhood) of Lisbon – overlooked by the magnificent fortress of the Castelo de São Jorge – is the one most commonly associated with fado. The song describes a procession through its narrow streets, where ‘even Rosa, who was deflowered from the street of ill repute, seems to be virtuous.’
3. Marcha da Mouraria
A more upbeat fado, celebrating the secular side of life in Mouraria, its great beauty and ‘bohemian air’. Dancing in the street, Lisbon style!
4. Eu Queria Cantar-te un Fado (‘I would like to sing you a fado’)
An early precursor of the singing telegram, in which our heroine wants to sing her lover a fado and goes ‘knocking door to door, trying to find you.’ She claims it will be like no other fado – though still sad. No need to traipse down to the concert hall, then.
5. No Digas Male Dele (‘Don’t badmouth him’)
In rather archaic Portuguese, this song refers to a torrid love triangle and jealously warns a rival not to talk about a man behind his back: “You are old, you should know better!”
6. Ai Lisboa
A tribute to Amália’s home town – ‘a city that is more than a city’ – a city which ‘became a popular song’. No three guesses which style.
7. Fado Hillario
A world weary vision of life and love: “I was born luckless and I grew up to suffer, to experience pain…How many star-crossed loves can one experience?... I have no hope any more. I am like one of the living dead.”
8. Maria da Cruz (‘Maria of The Cross’)
The story of another very sad, doomed woman who fell in love with a priest. She used to go to church every day, but things didn’t work out. He seems to have had someone else on the go and now Maria is destined to ‘die on a doorstep in Mouraria’.
9. Confesso. (‘I confess’)
Yet another scorned woman! She says: “I’m not going to cry for you. I won’t! I used to be a prisoner of your love but I’m not any longer… stay away from me! I don’t adore you anymore” None of this is very convincing, given the tragic tone of her voice…
10. Foi Deus (‘It Was God’)
Amália reaffirms her love of God in this song, which became a standard of the fado repertoire and one of her most famous. After all: “It was God …who opened my eyes and let me embrace fado …when I sing fado, I end up being free of pain.”
11. Fado Não Sei Quem es (‘I don’t know who fado is’)
More tormented fado philosophy: “when you suffer you live, and I suffer when I sing.“
12. Los Aceituneros (‘The Olive Pickers’)
Amália sings this Spanish song (a sardana) with a strong Portuguese accent. A woman who is picking olives falls in love with a fellow worker. The light, happy feel disguises a bitter truth; at the end of the season, he leaves and despite his sweet words, she never sees him again. A fado in spirit, then.
13. Ai, Mouraria!
With the opulent backing of a Lisbon orchestra, this 1951 recording is yet another tribute to Mouraria, where ‘you can hear the guitar playing all the time’.
14. Ojos Verdes (‘Green Eyes’)
Another old Spanish song, which also appeared in the soundtrack to the wonderful 1989 film Las Cosas del Querer. A prostitute recalls the best night of her life with a passing stranger, whose eyes were green ‘like basil, green like green wheat and green lemons.’ She never saw him again, either.
15. Carmencita
The sad morality tale of a beautiful gypsy woman who was adored by many, but appears to have ‘lacked heart’. She was she was ‘only interested in adventures’ and never found love. When she finally did fall in love, it was unrequited. Ai, Carmencita!
16. Los Piconeros (the ‘bull stickers’)
Portuguese bullfighting is slightly more humane than the Spanish version, in that the bulls are not killed in the fight – only later. In Spain, the main bullfighter is accompanied by piconeros, who assist in the killing by lancing the bull. The singer is in love with a piconero. But he is already spoken for…
17. Fado Lisboeta (‘Lisbon Style Fado’)
Bleak images of Lisbon punctuate this meditation on the nature of fado; “when you sing you forget the pain in your life… I am from Lisbon and I understand fado … It’s like a slow waltz that calms your heart, and it’s as cold as the snow of the road.’
18. Ave Maria Fadista
‘Singing fados is like praying for our sins’ is one key line from this austere song in praise of the Virgin Mary. In essence, you don’t sing a fado, you pray it.
19. Fado Da Adiça
Yet another fado about fado itself: ‘It’s like a poet that you don’t understand. It’s like a poem; you have to feel it. Fado is Portuguese in essence. It’s as Portuguese as Portugal!
20. Fado Amália
As autobiographical as any song of Amália’s: ‘When people say [the name] ‘Amália’, they mean ‘sing me a fado’.
Jon Lusk
With thanks to Ruben Grana for translations.
Jon is a New Zealand–born writer and photographer living in London. He specializes in popular and unpopular music from around the world. |
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