O fado nasceu um dia/ quando o vento mal bulia... jos rgios terms sketch out of the legend associated with the genre: fado produced on every single day as soon as the wind hardly stirred, the sea mirroring the sky, a sailor singing unfortunately of desiring their homeland, for his mother, for his enthusiast.
For longer than two centuries, this national songs of portugal has crystallised nostalgia, loneliness and regret inside singing of, mainly, women; none more celebrated than amlia rodrigues. similarly, for over two hundreds of years, the decline of fado has been lamented by purists which assert that any deviation through the standard template is a sacrilegious dilution. also rodrigues was not protected: eyebrows were raised at the woman usage of orchestral backings, at the woman environment of traditional poetry, at the woman spanish inflections, at the woman collaboration using the songwriter alain oulman, who had french-jewish origins.
Mariza has also irked fados much more nationalist followers: she was born within the mozambique money of lourenco marques (now maputo), although she came to lisbon in the age three and put inside very long hours singing in pubs; she's brought influences from african and brazilian songs. all of this features freshened up a genre when therefore insular and nationwide that it came into existence identified with the salazar regime (although the dictator despised it) along with grown stale by the time rodrigues passed away in 1999. mariza returned fado into the globe phase, with huge worldwide concerts. this brand-new record celebrates both 20 years of her very own recording job and a century because the birth of rodrigues: its the woman very first record composed entirely of tracks linked to the older diva.
They have fun with notions of fate. using what vocals, mariza needs due to the fact album starts, to mournful cello, are i to lament my unfortunate fate? the words are those for the 16th-century playwright and poet lus de cames (his worldview compared to a fadista avant la lettre), nonetheless they resonate using the narrators complaint in foi deus that god accounts for the woes which have made the woman sing fado. jaques morelenbaum, which produced the record album, adds lush orchestration that echoes the original tracks; accordion and piano tend to be to the fore, never ever overshadowing marizas wealthy vocals. she closes with this sailor inside the boat, longing and yearning.
Mariza cantaamlia is introduced by parlophone/warner music