Preso Entre O Sono E O Sonho and Porque Teimas Nesta Dor and Quen Vai Ao Fado interest me because she renders them in the fashion of Alfredo Marceneiro, probably my all-time favorite guy fadista. Now, this is not a commentary on her voice because Marceneiro had kind of a Frankie Valli thing going (think Big Girls Don't Cry, et al), so it's not like her voice is disconcertingly, manishly deep or anything.
I am thinking more in terms of delivery, which is kind of matter of fact, with a hint of irony. This thing happens to me, it is sad, painful, whatever, but that's life, eh? You live and you learn. It's a great life...as long as you don't weaken. Whatever doesn't kill you only makes you stronger. Gal fadistas, let's face it, tend to be drama queens, Amália and Mariza, prime examples. Which is fine, drama is good, music that's as gripping as Hamlet or Death of a Salesman is good, more often than not with Amália or Mariza, great (see O Gente Da Minha Terra, Mariza). And Ana Moura, as on Guitarra or Ás Vezes or, most notably, Lavava No Rio Lavava can be dramatic, too. But the change of pace in much of this CD makes it special, and it's what makes her a special fadista.
No comments:
Post a Comment