Mafalda Arnauth, born in Lisbon in October of 1974, was one of the great new sensations in fado in the late 1990s. She started her career in 1995 when invited by Joao Braga (an important fado singer) to participate in a concert at S. Luis’s Theater. What initially seemed to be a single experience, turned out to be a way of life.
Today her value is recognized, not only in Portugal but also in many foreign countries, where her presence is regularly requested.
Mafalda Arnauth, her first album released in 1999, was immediately acclaimed by specialists and won the Prize for Best Upcoming Voice by the weekly magazine Blitz, a sign that new generations are back into fado.
After a year filled with concerts and important invitations, that took her to the most important concert halls in The Netherlands, the Louisiana Centre (Denmark) and to Italy, to perform in the festival Sete-Sois, Sete-Luas, an important Mediterranean folk music event, she sang at Centro Cultural de Belem, where she was warmly acclaimed by the press.
Mafalda’s second album, Esta voz que me atravessa (This voice that goes through me) was released in 2001 and was produced by Amelia Muge and Jose Martins. Her album Encantamento was self-produced. She feels it “leaves fatality, disgrace, and nostalgia behind. Hope is fed on sadness; inspiration on suffering; strength and courage on difficulties.”
Mísia was born in the city of Oporto, where she lived until the end of her adolescence. The daughter of a family with great socio-cultural differences, and the third generation of artists on her mother’s side, she inherited from her mother and grandmother a fascination for the world of the performance stage.
Family reasons led her to interrupt her studies and to travel to Barcelona, where she became acquainted with new artistic tendencies. At the same time, distance and “saudade” (longing) began to come together in a new look at her own cultural roots. Thus there reappeared, and stayed, the memory of Fado (of her first experiences in the fado houses of Oporto), which became an inspiring force and, later a chosen vocation. Far from Portugal, a journey “inside” began, in muted fashion.
Meanwhile, Mísia worked as a “professional artist”. She took part in various television programs, sang in various styles, in various languages, in various locales of the “movida madrileña” cultural movement (the great cultural explosion that took place in Madrid). She tried a little of everything, still viewing her profession as an exciting way of life. Of these years, rich in anonymous artistic experiences, bohemian living and financial difficulties, Mísia retained memories and a useful stage skill. Without forgetting her special affection for boarding houses and trains?
In 1990, the journey “inside” had as its final destination Fado and the return to Portugal, where she still lives. Having decided to take seriously this urban music, temporarily in cultural and commercial disgrace following the Revolution of the Carnations (1974), Mísia began to work in Lisbon with musicians, composers, lyricists and poets. Thus began a long and solitary personal path, at a time when, between the enormous success of Amalia Rodrigues and the increasing success of world music (which aroused the commercial interest of recording companies and the curiosity of the media and public for this musical genre) there was a long wait.
The self titled Mísia, her first CD, was produced by EMI-Valentim de Carvalho in 1991. In 1993 it was followed by Mísia Fado, initially privately produced and subsequently taken on by BMG-Portugal, after proposals from Japan, Korea and Spain, countries in which Mísia worked regularly in that year.
Tanto Memnos Tanto Mais was released in 1995, also by BMG, and was considered one of the best CDs of the year by a number of European newspapers (Expresso, Liberation, Le Monde etc), and it heralded the consolidation of her international career, winning the French award Grand Prix du Disque de l’Acad?mie Charles Cros. In spite of this, it was a difficult period of being a recording “orphan”, a fact reflected above all in the inadequate distribution of her CDs.
In 1996, Mísia performed for the first time in Paris (Maison des Cultures du Monde) and was contacted by Erato Disques, the French classical music label, part of the Warner Classic Music group.
Erato released Garras dos Sentidos in 1998. Distributed in 62 countries, it sold some 200,000 copies, earning a Silver Disc in Portugal. It was voted a “Choc de la Musique” in France, and in Portugal was in the list of the One Hundred Best Discs of the 20th Century in the newspaper Publico.
Paixaes Diagonais followed in 1999, in which Mísia sings a fado accompanied at the piano by Maria Joao Pires in a unique meeting of sensibilities. She received excellent articles and reviews of this project, notably, for the first time in Portuguese music, a “spotlight” in the highly regarded American journal Billboard. Three fados from this CD were used as part of the soundtrack for the film “Passionata” (Dan Ireland, USA), one of them being choreographed by Bill T. Jones.
Mísia took for her fados words by some of the greatest poets in Portuguese literature, such as Fernando Pessoa, Ant?nio Botto, Nat?lia Correia and M?rio de S?-Carneiro, and also the Brazilian Carlos Drummond de Andrade. The contemporary poets Lidia Jorge, Agustina Bessa Luis, Mario Claudio and the Nobel laureate Jose Saramago wrote especially for her voice. The word, poetry – used as a link between the present and an older way of singing – has been the principal element in Mísia’s work over the last ten years. Work which has acquired its own sound, with the introduction of the violin and the accordion, instruments which play fado in the streets. Ricardo Dias, producer of both “Garras” and “Paixaes,” provided the arrangements.
Meanwhile, there were concerts in the world’s most famous halls, such as Town Hall (New York), the Philharmonia in Berlin, the Olympia (Paris), Palacio de Los Congresos (Madrid), Cocoon Theater (Tokyo), Piccolo Teatro (Milan) etc, etc. The “concert” and the reaction of the audience are her principal source of energy. Her fados and her person have inspired work by artists from different areas and cultures, including American choreographer Bill T. Jones, Indian ballet dancer Padma Subramanian, French director Patrice Leconte, and Spanish stylist.
With Ritual Mísia returned to the musical tradition of Fado (Portuguese guitar, fado guitar and acoustic bass). The lyrics were mostly written by songwriters and recorded in whole takes, using a valve microphone, as was done fifty years ago. The musical direction and two unpublished songs were provided by Carlos Goncalves, the great composer and accompanist of Am?lia Rodrigues’ last years. About Ritual Mísia said: “”it is a CD which shows the course I have taken. Doing, undoing and redoing, knowing that there exists no pure art and that each artist must have his own universe. My hell and my paradise, my life and my death are contained in this disc. My Fado”
In 2003 she released Canto, which includes the best works of Portuguese guitarist Carlos Paredes with poems by Vasco Gra?a Moura, S?rgio Godinho and Pedro Tamen.
Her 2005 release, Drama Box, is a collection of tangos, boleros and fados, sung in Portuguese and Spanish.
In Portuguese countryside, “Moçoila” is a common word to designate a young and attractive girl. And these can surely catch their audiences: powerful singing and traditional percussion playing, old and new songs from the land and the sea performed with unique joy and freshness.
Having the recovery of traditional Algarve music as a starting point, this vocal ensemble has a unique manner of interpreting old songs from the mountain “Serra do Caldeirão” For its most part their repertoire is composed by traditional folk songs from Algarve, rich in slang, the Algarvian cursing, and playful naggery spicing the plain love stories and social critique. This is a unique and yet to-be-discovered secret in Portuguese folk music.
Teresa Colaco – vocals, percussion
Teresa Muge – vocals, percussion
Margarida Guerreiro – vocals, percussion
Eduarda Alves – vocals, percussion
Já Cá Vai Roubado (Casa da Cultura de Loulé, 2001)
Tunamente Falando (Câmara Municipal Da Covilhã, 2002) Qu’É Que Tens A Ver Com Isso? (Ocarina, 2006)
The group’s purpose is to combine traditional Cante Alentejano (folk music from the Alentejo region of Portugal) with elements from other musical traditions, such as classical music.
Five musicians, of different generations, and with diversified musical formations, from the band. Five voices, one cellist, two acoustics guitarists, an accordionist and a percussionist bring an intimate style to Traditional Cante songs.
At the age of seven Pedro Jóia began his classical guitar studies with professor Paulo Valente Pereira at the cademia dos Amadores de Música de Lisboa,“ concluding the guitar course at the Conservatório Nacional de Lisboa with professor Manuel Morais in 1990.
In 1986 he began his Flamenco guitar studies initially on his own, and later attending master classes and improvement courses in Cordoba and Jerez de la Frontera (Spain) with guitarists Paco Peña and Gerardo Núñez.
He attended, between 1989 and 1992, the Escola Superior de Belas Artes de Lisboa.
Between 1990 and 1992 he taught the discipline of classical guitar at the “ Conservatório Regional de Loures.
From 1992 to 1998, he studied and worked with Manolo Sanlúcar in Córdoba and Sanlúcar de Barrameda (Spain).
In 1993, he began his concertmaster activity by performing at municipal auditoriums and music and guitar festivals.
He has worked for the theater, composing and arranging original music, such as, Lorca, Federico at the Teatro Experimental de Cascais with stage director Carlos Avilez.
Nowadays he teaches classical guitar for the higher degree in Music at the Universidade de Évora.
He has performed in various countries including Portugal, Spain, Belgium, Holland, India, Mozambique and Ivory Coast.
On the first of June 2001, he presented the show “ Variações Sobre Carlos Paredes “ at the great auditorium of the “ Centro Cultural de Belém.“
2002 confirmed the success of the previous year with several shows staged both in Portugal and abroad.
He was invited to perform in Macau with the Chinese Orchestra to play a mix of Portuguese and Chinese composition including Verdes Anos of Carlos Paredes.
“Early, Carlos Paredes’ music woke in me a strong “Portuguese” conscience.
With his legacy of a guitar family tradition originating from Coimbra, Paredes created an unmistakable, nostalgic sound, that punctuated the history of the last decades of 20th century Portugal.”
Guadiano (Farol Música, 1996) Jacarandá (Zona Música 2000)
Variações Sobre Carlos Paredes (Farol, 2001) À Espera De Armandinho (HM Música, 2007)
Created in 1990, Realejo appeared as a natural consequence of an all effort of investigation and recovery of specific traditional Portuguese musical instruments made by Fernando Meireles.
Among these, the hurdy-gurdy stands out once the group’s repertoire is actually directed towards this instrument. In fact Realejo have been playing all the music that is written for the hurdy-gurdy, from the Middle Age passing through the 18th century’s romantics, the French composers and the folk heritage.
Realejo are dedicated to the interpretation from the European traditions with special emphasis on music for the hurdy-gurdy, an instrument which, during the 19th century, disappeared from the Portuguese musical universe and which Fernando Meireles, with pioneering handiwork, recovered, building it from figures of 17th and 18th century Nativity scenes.
In 1995 Realejo recorded its first CD, Sanfonia, released by Movieplay. In 1997 a second CD was recorded, Cenários, released by the same company.
The hurdy-gurdy, which had completely disappeared in Portugal during the 19th century, was studied by Fernando Meireles for 4 or 5 years. This study was mainly based on nativity scenes from the 17th and 18th centuries. In 1990 he built his first hurdy-gurdy. Before this he had a similar research work for the beiroas and the toeiras guitars, instruments of rare beauty which only examples lay in the memory of times and in some Portuguese museums.
The music performed by Realejo suggests a journey of Interceltic characteristics with its Breton and Gaelic echos side by side with the repertoire taken from the traditional heritage of the north of Portugal. Therefore it is also revealing and determinant the fact that the group aims, in a diversity of expressions, at the cultural roots which identify in a careful and rigorous process, the authenticity of the traditional music.
Fernando Meireles – Hurdy Gurdy, Mandolin and Ukelele
Amadeu Magalhães – Bagpipe, Flutes, Braguesa Guitar, Melodion, Mandolin and Ukelele.
Fernando Araujo – Acoustic Bass
Jorge Queijo- Percussion
Miguel Veras – Guitars
Catarina – Voice
Ricardo Rocha is unanimously considered the best Portuguese guitar player of his generation. Rocha plays several instruments (Portuguese and classical guitar and piano) and also composes pieces for other singers and musicians.
He divides his career between well known fado houses (Taverna do Embufado and Velho Pateo de Santana) and performances with other artists. Rocha has been playing with popular Portuguese performers like Maria Ana Bobone, Maria Joao, Joao Paulo Esteves da Silva and Amelia Muge.
Luz Destino (MA Recordings, 1996)
Voluptuária (Vachier & Associados, 2003)
Tributo À Guitarra Portuguesa (Corda Seca, 2004)
Luminismo (Mbari Musica, 2009)
Resplandecente – Quartetos E Solos Para Guitarra Portuguesa (Mbari Musica, 2014)
Gaiteiros de Lisboa is a folk-traditional-world band of multi-talented musicians who got together around a sonorous project that stands on the constant search for new sounds. This has leaded the group to the creation of original instruments such as Tubaros d’Orpheu, Tubaroes, Orgaz, Cabecadecompressorofone, Clarinete acabacado and Serafina. Their experimental attitude sets up a bridge between Tradition and Modernity. by blending traditional styles with contemporary sensibilities.
The group has started out in 1991 as a street animation group. After several changes, it is presently formed by Carlos Guerreiro (voice, sanfona, panflutes, tubaros de Orfeu, buzio, percussion); Jose Salgueiro (voice, flugel, panflutes, tubaros de Orfeu, búzio or conch shell, percussion), Rui Vaz (voice, gaita, ocarina, panflutes, percussion), Pedro Casaes (voice, panflutes, percussion), Jose Manuel David (voice, trompa or French horn, gaita, flutes, percussion), Paulo Marinho (gaitas, flute, svina, panflutes, buzio, percussion) and Paulo Charneca (percussions, tubaroes).
They have played with the most important Portuguese musicians and bands having backgrounds in different genders such as rock, jazz, pop, folk, classical and early music.
A rising star in the new fado generation, Moutinho became popular in the 1990s after releasing his first album called Sete Fados e Alguns Cantos.
Helder Moutinho was born in 1969, in Oeiras, where the Tagus River meets the Ocean, and maybe it was from this daily intimacy with the sea that came the major characteristic of his career: a multiple capacity of understanding and living his music, by singing, composing, producing, managing, constantly probing wider horizons, of solid and neat banks and rich, steady stream. From his family of old fado lovers, and from accompanying them to the traditional fado circles, he got not only his taste for this kind of song, but above all his determination to sing it, and so entering in fado’s unique universe.
It was in Moutinho’s late teens that, after getting familiar to other musical styles, fado began to take an increasing importance in his life. This is perhaps the reason to explain his enduring, inevitable relation with Lisbon. After the lifelong calling of the sea, now is Tagus River that requests him, revealing him Lisbon, the city of passions, of poetic and nostalgic nights, of high flying gulls that he will forever on sing and write about. He initially sang only to friends, but his gift could not remain hidden, and he soon got his first invitation to sing in one of Bairro Alto’s fado bars.
By this time, Moutinho’s all latent talents began to show themselves. In reunions of fado singers, all night long, among other fado lovers, he began to sing his own lyrics that he would later include in his first album, Sete Fados e Alguns Cantos (Seven Fados and Some Songs). Concurrently, Helder Moutinho began revealing himself in other and important activities: those of a manager, agent and music editor. The transition from singing in fado bars and in concerts – one must mention his participation in projects organized by Lisbon City Hall and included in “Lisbon 94 – European Capital of Culture”, the Festima Festival at “Expo’ 98”, along with performances throughout Portugal and abroad – is a process that Moutinho himself can’t explain – but soon the stress-free approach of his beginnings turned to become a deeper, compromised one. His first record, released by Ocarina in 1999, got flattering notice from magazine “Strictly Mundial” (of the “World Music International Exibition”), and very good reviews from Portuguese and international press.
Joana Amendoeira is a New Generation fado singer. Through her voice, fado reaches unique, sublime moments, powered by her sensuous and moving harmonies.
Amendoeira was born in Santarem, Portugal in 1982. Her singing style is classic and traditional, yet her unique vocals bring a bright, new glow to fado.
In 1994, a young Amendoeira participated in the Lisbon Grand Fado Gala, where she received enthusiastic praise from the jury and the audience. In the following year, she won the Female Interpreter Award at the Oporto Gala. From that date on, she has been performing non-stop around Portugal and the world. Some of her favorite experiences include traveling to Budapest to perform in front of a remote Portuguese community, performing with fado legend Carlos do Carmo at the Radio Alpha Auditorium in Paris, and her first time in the Americas as a headliner at the Commemorations of the 500th Anniversary of the Discovery of Brazil.
Four years later her first album was released: 1998’s Olhos Garotos (Playful Eyes), thereby giving her the honor of being the youngest fado singer with a published CD. Her second CD followed shortly thereafter in 2000, when Aquela Rua (That Street) was released to outstanding reviews. This was also the year that Amendoeira began singing regularly at Clube de Fado (The Fado Club), one of most renowned fado houses in Lisbon.
Her growing international acclaim brought the fadista to more corners of the world, receiving invitations to sing in Japan, Moscow and Holland (at the prestigious Muziekcentrum Vredenburg). Meanwhile, back in her homeland of Portugal, Amendoeira was asked to take part in some of the top fado anthologies, such as Novas Vozes, Novos Fados (New Voices, New Fados) and Nova Biografia do Fado (Fado’s New Biography). She also contributed to the Moniz Pereira homage album, as well as the soundtrack to the TV series Joia de Africa (African Jewel).
In 2003, her third CD, the self-titled Joana Amendoeira, received enthusiastic praise from fado devotees, reviewers and audiences alike. The album?s promotional tour sent Amendoeira once again through Europe, this time performing in Spain, France and Austria, to name a few. The tour also brought her to Canada for the first time, where she performed at Montreal’s Strictly Mundial.
Amendoeira achieved further success when she received the 2004 Revelation Award from Casa da Imprensa (The Portuguese Press Association). That same year she presented her first solo show at one of Lisbon’s oldest and most illustrious stages: The Sao Luiz Theatre. This performance would later be turned into her first live album, Ao Vivo Em Lisboa (Live in Lisbon), released in July 2005.
Olhos Garotos (Espacial, 1998) Aquela Rua (Espacial, 2000)
Joana Amendoeira (Companhia Nacional De Música, 2003)
Ao Vivo em Lisboa (Companhia Nacional De Música, 2005) À Flor da Pele (HM Musica, 2006)
Joana Amendoeira & Mar Ensemble (HM Musica, 2008) Sétimo Fado (Nosso Fado, 2010)
Amor Mais Perfeito (Tributo a José Fontes Rocha) (Companhia Nacional De Música, 2012) Muito Depois (Companhia Nacional De Música, 2016)
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