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ISSN 1409-6900 | UDK 82+7     Blesok no. 42 | volume VIII | May-June, 2005



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                     Peer-reviewed journal
Blesok no. 42May-June, 2005
Sound Reviews

Fado has something like a watermark

/5
p. 1
Ljupčo Jolevski

It’s a great complement to be compared with the biggest icon, and I guess that’s the way for people to say they like my work in music, but people remember Amália in her forty’s, her best époque, and I am only at the beginning of my journey. – says young Portuguese singer, one of stars at the Heineken Off Festival.

Mariza is 29 years old fado singer. Fado is traditional song born in Lisabon inns and taverns more than 200 years ago. Her story about the path to success sounds alike those of other great Portuguese vocal divas. She started singing songs about loneliness, passion, despair and lust when she was a little girl. Yet, her restless spirit forced her to discard the traditional black shawl of “fadistas” singers and to transform the fado into living matter with each and every of her gesture and movement on the stage. That is the way to transform fado into vivid music.

These days, the Portuguese branch of the mighty concern EMI published your new album Transparente, a new lovely collection of fado songs. Tell us how long have you been preparing the project, which are the authors you've been collaborating with, and what was the reason to choose Jacques Morelenbaum as your producer?
    I was in Brazil, recording for 2 months, but before that I spent some time researching through Portuguese Poetry, in order to find the poems, where I can express myself better, my way of seeing life itself.
    Jacques Morelenbaum was my choice, I’ve known his work for a long, long time, and I’m a big, big fan. I had a dream that maybe one day he could produce just one song, not a whole record, just one song. But the record company suggested me to invite him for producing the album, I’ve done it, he said yes.
    For Transparente, I could count on the help of three of the most important Portuguese songwriters. They had written and composed songs, especially for me, like “Meu Fado Meu”, or “Fado Português de Nós”.
    I also wanted to work with a younger composer from the new order; able to write and compose about the new Lisbon, so I found Pedro Campos, who composed “Montras”.
    In this album I also make my tribute to the three most important persons in the history of Fado, which I consider my teachers and my gurus: Amália Rodrigues, Fernando Mauricio and Carlos do






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