
In Mariza, we find the supreme diva of contemporary fado. Born to a Mozambican mother and Portuguese father, and having spent her childhood in Lisbon’s Mouraria, the mythical birthplace of fado, Mariza claims to have grown up immersed in fado. She is probably the contemporary fadista who is best known outside of Portugal, and having won a whole host of music awards across the globe, Mariza really is an international star.
A great deal of Mariza’s popularity is born of her determination to combine a commitment to tradition and to the great fadistas of the previous generation, notably a particular sense of indebtedness to the influence of Amália, with a refusal to slavishly follow every aspect of traditional fado. Incorporating African and Brazilian rhythms into old classics, Mariza has made fado her own, bringing new life to well-established songs, and inspiring a whole new generation to investigate their roots. Whilst she may have received the odd disparaging comment from the purists, for her appearance as much as for her musical experimentation (with her cropped platinum hair and extravagant costumes, Mariza refuses the severe and often ascetic image of the traditional fadista), it is undeniable that no-one has done more than Mariza to bring fado into the new millennium, and onto the international stage.
In this song, Boa Noite Solidão, the fadista addresses the loneliness which has crept into his room and is now haunting him in the darkness of the night (Although Mariza sings this version, I presume this fado was originally written for a man, since the lost love being referred to is a woman). Loneliness here is an ambiguous figure, shadowy, obscure and somehow threatening, yet also providing a certain comfort and companionship. The protagonist offers his hand to loneliness, seeking understanding and compassion, whilst also conceding that his new confidant will doubtless awaken the saudades which had lay sleeping, and with it, give rise to a flurry of bittersweet memories and longing. As with Beijos de Fogo, the hero is engaged in a battle with his emotions, claiming to desire quietude and freedom from his torment, as he asks loneliness no longer to speak to him of his love. But again, as with the previous song, this plea for an end to painful memories is only partially genuine. As the fado comes to an end, the fadista asks loneliness to leave him. Not because he wants relief from the thoughts of his lost love. But rather because he wants to be truly alone, without even the company of loneliness, to devote himself to his dreams of her.
Boa noite solidão
Boa noite solidão
Vi entrar pela janela
O teu corpo de negrura
Quero dar-te a minha mão
como a chama duma vela
Dá a mão à noite escura
Quero dar-te a minha mão
Como a chama duma vela
Dá a mão à noite escura
Os teus dedos, solidão
Despenteiam a saudade
Que ficou no lugar dela
Espalhas saudades pro chão
E contra a minha vontade
Lembras-me a vida com ela
Espalhas saudades pro chão
E contra a minha vontade
Lembras-me a vida com ela
Só tu sabes, solidão
A angústia que traz a dor
Quando o amor, a gente nega
Como quem perde a razão
Afogamos o nosso amor
No orgulho que nos cega
Como quem perde a razão
Afogamos o nosso amor
No orgulho que nos cega
Com o coração na mão
Vou pedir-te, sem fingir
Que não me fales mais dela
Boa noite solidão
Agora quero dormir
Porque vou sonhar com ela
Boa noite solidão
Agora quero dormir
Porque vou sonhar com ela
Lyrics by Jorge Fernando, Music by Carlos da Maia
Bonne Nuit, Solitude
Bonne nuit, Solitude
J’ai vu entrer par la fenêtre
Ton corps de noirceur
Je veux te donner la main
Comme la flamme d’une chandelle
Donne sa main à la nuit obscure
Je veux te donner la main
Comme la flamme d’une chandelle
Donne sa main à la nuit obscure
Tes doigts, Solitude
Dépeignent la saudades
Qui est restée à sa place
Tu répands la saudades par terre
Et contre ma propre volonté
Je me rappelle ma vie avec elle
Tu répands la saudades par terre
Et contre ma propre volonté
Je me rappelle ma vie avec elle
Il n’y a que toi que sais, Solitude
L’angoisse qu’apporte la douleur
Lorsque l’amour est refusé
Comme celui que perd la raison
Nous noyons notre amour
Dans l’orgueil qui nous aveugle
Comme celui que perd la raison
Nous noyons notre amour
Dans l’orgueil qui nous aveugle
Avec le cœur dans la main
Je te demande, sans faire semblant
Que tu ne me parles plus d’elle
Bonne nuit, Solitude
Maintenant je veux dormir
Parce que je vais rêver d’elle
Bonne nuit, Solitude
Maintenant je veux dormir
Parce que je vais rêver d’elle
Goodnight Loneliness
Goodnight, Loneliness
I saw come in through the window
Your body of blackness
I want to give you my hand
Like the flame of a candle
Gives its hand to the dark night
I want to give you my hand
Like the flame of a candle
Gives its hand to the dark night
Your fingers, Loneliness
Ruffle the saudades
Which remains in her place
You spread saudades across the floor
And against my own will
I remember my life with her
You spread saudades across the floor
And against my own will
I remember my life with her
Only you know, Loneliness
The anguish which pain brings with it
When love is denied
Like one who has lost his mind
We drown our love
In the pride that blinds us
Like one who has lost his mind
We drown our love
In the pride that blinds us
With my heart in my hands
I am going to ask you, without pretending
That you no longer speak to me of her
Goodnight, Loneliness
Now I want to sleep
Because I am going to dream of her
Goodnight, Loneliness
Now I want to sleep
Because I am going to dream of her
nice post! :) mariza is good, obviously - but diva there is only one: Amalia and no one else! :)
ReplyDeleteAmália é a rainha do fado, sem dúvida. Mas Mariza também é uma fadista muito muito grande, e importante para o futuro do fado. Não é preciso fazer hierarquia :)
ReplyDeleteMas diva so' ha uma:
ReplyDeleteAmalia e mais nenhuma!!!