In this section “Fado – my selection” I tried to give references from current and past artists, female and male voices, “naive” themes and poetically elaborated themes. In a universe of hundreds of artists and thousands of songs, any selection is always debatable, but the objective is to give a first approach. In this artistic expression, the clarity in the expression of the word is as important as the melody or the interpretation.
Fado artists don’t just sing to entertain the audience. Fado artists are storytellers, sharing with the audience their personal experiences or those of others. Listening to fado in silence is a sign of respect for those who sing. That’s why fado starts with:
“Silêncio, que se vai cantar o fado!!!” (“Silence, let’s sing fado!!!”)
Amália (1920-1999) is the greatest figure of this artistic expression ever. For many it represents the Portuguese soul. Her death left a void that was never filled. She is buried in the National Pantheon, next to the greats of Portugal.
Lyrics: Amália Music: Alfredo Marceneiro
In this song, the mind (reason) goes to the heart (emotion) and asks it “independent heart, heart that I don’t command, why do you live lost among people, eternally bleeding?” And Amália dramatically begs him “Stop, stop beating! If you don’t know where you’re going, why do you insist on running? I won’t accompany you anymore!”
Much has been discussed about the autobiographical character of the lyrics, but that we will never know.
In a world dominated almost exclusively by female voices, Alfredo Marceneiro (1891-1982) managed to be the exception. Alfredo Marceneiro represents for male fado what Amália represents for females, but without international projection.
Lyrics: Alfredo Marceneiro Music: Gabriel de Oliveira/Raúl Ferrão
This song is a love poem dedicated to someone who lives next to the chapel of Senhora do Monte.
The author addresses the person to whom the song dedicates attributes such as “the relief of poverty” or “the confidant of sinners”. Although it is never clear, neither the name of the person to whom the song is dedicated, nor the kinship relationship, it is not difficult to guess that the muse of this fado is no less than the mother of the author of the lyrics.
Ana Moura (1979) was the first figure to appear in the post-Amalia period. Her characteristics are her dramatic intensity and the way she communicates with the audience.
Lyrics: Maria do Rosário Pedreira Music: Carlos da Maia
In this song, Ana Moura describes the way she put an end to the relationship when she thought she saw “a gleam in his eyes” when he passed by “her”. In fado lyrics there is often a third person, as jealousy is one of the recurring themes. In addition to the already mentioned topic of jealousy, we still have guilt and regret.
Carminho (1984) comes from a family with a fado tradition. Contrary to the performers of other times who sang exclusively fado, Carminho and also Ana Moura ventured into other musical styles such as pop and jazz, resulting in fado enriched by these influences.
Music: Raúl Ferrão Lyrics: Jorge Morais Rosa
This song contains the most elaborate lyrical part of the four presented, with a strong metaphorical content. In it the interpreter tells the subject of her forbidden love that she wrote his name in the wind with the hope that the wind, by blowing it away, would help her forget him. But the result was the opposite of what was expected, taking her to the edge of despair because the wind is not only everywhere, but it is blowing stronger and stronger.