Mariza
May 26 at 20:45 - Križanke
Fado is sometimes described as Portuguese blues, yet this label is too loose and not a little misleading. In addition to the inevitable sadness and celebration of pain (fado means destiny), one still finds lively and even dance motifs in fado. Since the death of Queen of Fado Amália Rodrigues, no one has understood this better than Mariza, a singer hailed in her homeland as the next Amália and the singer most tipped to restore the glory of the genre. Ever since her first album Fado em Mim, which received glowing reviews, it has been evident that this Mozambique-born singer does not limit herself to the historic legacy of fado but fearlessly plays with different arrangements that make use of two key elements of jazz, the trumpet and the piano. The title of her second album, Fado Curvo, meaning ‘curved’ or ‘meandering’ fado, reflected her non-traditional approach, while her third album, Transparente, took her all the way to Brazil, introducing elements of local styles into the sound in collaboration with renowned producer Jacques Morelenbaum. Morelenbaum also played cello and conducted the Sinfonietta de Lisboa on Mariza’s latest album Concerto em Lisboa, which was recorded in front of a crowd of 20,000. Despite all the changes Mariza has made to the music, her voice remains faithful to the fado tradition, treading the fine line between passionate expression and introversion, sweet pain and blithe eloquence, tears and laughter so beloved of the genre.
Mariza, vocals
Luis Guerreiro, Portuguese guitar
António Neto, classical guitar
Vasco Sousa, bass
Paulo Moreiran, cello
Antonio Barbosa, violin
Ricardo Mateus, viola
Joâo Pedro Ruela, percussion
Joâo Cebolas, sound
Nuno Marques, lights
Most recent album: Concerto Em Lisboa (World Connection /Dallas Records, 2006)
www.mariza.com
Text by Mario Batelić
May 26 at 20:45 - Križanke
Fado is sometimes described as Portuguese blues, yet this label is too loose and not a little misleading. In addition to the inevitable sadness and celebration of pain (fado means destiny), one still finds lively and even dance motifs in fado. Since the death of Queen of Fado Amália Rodrigues, no one has understood this better than Mariza, a singer hailed in her homeland as the next Amália and the singer most tipped to restore the glory of the genre. Ever since her first album Fado em Mim, which received glowing reviews, it has been evident that this Mozambique-born singer does not limit herself to the historic legacy of fado but fearlessly plays with different arrangements that make use of two key elements of jazz, the trumpet and the piano. The title of her second album, Fado Curvo, meaning ‘curved’ or ‘meandering’ fado, reflected her non-traditional approach, while her third album, Transparente, took her all the way to Brazil, introducing elements of local styles into the sound in collaboration with renowned producer Jacques Morelenbaum. Morelenbaum also played cello and conducted the Sinfonietta de Lisboa on Mariza’s latest album Concerto em Lisboa, which was recorded in front of a crowd of 20,000. Despite all the changes Mariza has made to the music, her voice remains faithful to the fado tradition, treading the fine line between passionate expression and introversion, sweet pain and blithe eloquence, tears and laughter so beloved of the genre.
Mariza, vocals
Luis Guerreiro, Portuguese guitar
António Neto, classical guitar
Vasco Sousa, bass
Paulo Moreiran, cello
Antonio Barbosa, violin
Ricardo Mateus, viola
Joâo Pedro Ruela, percussion
Joâo Cebolas, sound
Nuno Marques, lights
Most recent album: Concerto Em Lisboa (World Connection /Dallas Records, 2006)
www.mariza.com
Text by Mario Batelić
