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AMALIA RODRIGUES
Admin Paz Ocak 24, 2010 11:46 am
AMALIA RODRIGUES
http://www.imdb.com/name/nm0735052/
Amália RodriguesAmália da Piedade Rebordão Rodrigues, (d. Temmuz 1920 – 6 Ekim 1999) Portekizli fado şarkıcısı ve aktris. Lizbon'da 1920 yılında doğdu. Resmi kaynaklara göre doğum günü 23 Temmuz görünmesine rağmen, doğum gününün 1 Temmuz olduğu iddia etti.
Fado müziğinin en bilinen ismi olan sanatçı Fadonun Kraliçesi (Rainha do Fado) olarak ünlenmiştir.
Amália da Piedade Rodrigues, GCSE, GCIH, (July 23, 1920 – October 6, 1999), also known as Amália Rodrigues (Portuguese pronunciation: [ɐˈmaliɐ ʁuˈdɾiɡɨʃ]) was a Portuguese singer and actress. Despite official documents give her date of birth as July 23, Rodrigues always said her birthday was July 1, 1920 . She was born in Lisbon, in the rua Martim Vaz (Martim Vaz Street), neighborhood of Pena. Her father was a trumpet player and cobbler from Fundão who returned there when Amália was just over a year old, leaving her to live in Lisbon with her maternal grandmother in a deeply Catholic environment until she was 14, when her parents returned to the capital and she moved back in with them.
She was known as the "Rainha do Fado" ("Queen of Fado") and was most influential in popularizing the fado worldwide. In fact, she was one of the most important figures in the genre’s development, and enjoyed a 40-year recording and stage career. Rodrigues' performances and choice of repertoire pushed fado’s boundaries and helped redefine it and reconfigure it for her and subsequent generations. In effect, Rodrigues wrote the rulebook on what fado could be and on how a female fadista — or fado singer — should perform it, to the extent that she remains an unsurpassable model and an unending source of repertoire for all those who came afterwards. Rodrigues enjoyed an extensive international career between the 1950s and the 1970s, although in an era where such efforts were not as easily quantified as today. Other well-known international fado artists such as Madredeus, Dulce Pontes and Mariza have come close, however.
The early years
After a few years of amateur performances, Rodrigues’ first professional engagement in a fado venue took place in 1939, and she quickly became a regular guest star in stage revues . There she met Frederico Valério, a classically-trained composer who, recognising the potential in such a voice, wrote expansive melodies custom-designed for Rodrigues’ voice, breaking the rules of fado by adding orchestral accompaniment. One of these composed fados was 'Fado do Ciúme'.
Her Portuguese popularity began to extend abroad with trips to Spain, a lengthy stay in Brazil (where, in 1945, she made her first recordings on Brazilian label Continental) and Paris (1949). In 1950, while performing at the Marshall Plan international benefit shows, she introduces 'April in Portugal' to international audiences, under its original title "Coimbra".
In the early fifties, the patronage of acclaimed Portuguese poet David Mourão-Ferreira marked the beginning of a new phase: Rodrigues sang with many of the country's greatest poets, and some wrote lyrics specifically for her.
See her full biography in https://www.youtube.com/watch?v=4Rlf7oT-Dk0
The middle years
In 1954, Rodrigues' international career skyrocketed through her presence in Henri Verneuil’s film The Lovers of Lisbon (Les Amants du Tage), where she had a supporting role and performed on-screen. By the late 1950s the USA, Britain, and France had become her major international markets; Japan and Italy followed suit in the 1970s. In France especially, her popularity rivaled her Portuguese success, and she graduated to headliner at the prestigious Olympia theatre within a matter of months. This lead to the release of the album Portugal's Great Amália Rodrigues Live at the Olympia Theatre in Paris, in 1957, on Monitor Records (now under Smithsonian Folkways). Over the years, she performed nearly all over the world — going as far as the Soviet Union and Israel.
At the end of the 1950s, Rodrigues took a year off. She returned in 1962 with a richer voice, concentrating on recording and performing live at a slower pace. Her comeback album, 1962's Amália Rodrigues, was her first collaboration with French composer Alain Oulman, her main songwriter and musical producer throughout the decade. As Frederico Valério, before him, Oulman wrote melodies for her that transcended the conventions of fado.
Rodrigues did not shy away from controversy: her performance in Carlos Vilardebó’s 1964 arthouse film The Enchanted Islands was better received than the film, based on a short story by Herman Melville, and her 1965 recording of poems by 16th century poet Luís de Camões generated acres of newspaper polemics. Yet her popularity remained untouched. Her 1968 single Vou dar de beber à dor broke all sales records and her 1970 album Com que voz won a number of international awards.
The later years
During the 1970s, Rodrigues concentrated on live work, and embarked upon a heavy schedule of worldwide concert performances. During the frenetic post-April 25, 1974 period she was falsely accused of being a covert agent of the PIDE, causing some trauma to her public life and career. In fact, during the Salazar years, Rodrigues had been an occasional financial supporter of some communists in need. Her return to the recording studio in 1977 with Cantigas numa Língua Antiga was received as a triumph. The 1980s and 1990s brought her enthronement as a living legend. Her last all-new studio recording, Lágrima, was released in 1983. It was followed by a series of previously lost or unreleased recordings, and the smash success of two greatest hits collections that sold over 200,000 copies combined.
Despite a series of illnesses involving her voice, Rodrigues continued recording as late as 1990. She eventually retreated from public performance, although her career gained in stature with an official biography by historian and journalist Vítor Pavão dos Santos, and a five-hour TV series documenting her fifty-year career featuring rare archival footage (later distilled into the 90-minute film documentary, The Art of Amália). Its director, Bruno de Almeida, has also produced Amália, Live in New York City, a concert film of her 1990 performance at New York City Town Hall.
On October 6, 1999, Amália Rodrigues died at the age of 79 in her home in Lisbon 38°42′59″N 9°09′18″W / 38.716269°N 9.154921°W / 38.716269; -9.154921. Portugal's government promptly declared a period of national mourning . Her house, in Rua de São Bento, is now a museum. She is buried at the National Pantheon alongside other Portuguese notables. In 2007, she came in 14th in Portugal's election of Os Grandes Portugueses (The Greatest Portuguese) . One year later, in 2008, a film about her life Amália was released, with Sandra Barata portraying her .
Family
Rodrigues' parents had nine children: Vicente and Filipe, José and António (who both died in childhood), Amália, Celeste, Aninhas (who died at sixteen), Maria da Glória (who died shortly after birth), and Maria Odete. In 1940, she married Francisco Cruz, a lathe worker and amateur guitar player from whom she separated in 1943 and whom she divorced in 1946. In 1961, in Rio de Janeiro, she married César Seabra, a Brazilian engineer; they remained married until his death in 1999. She had no children
Albümleri
Perseguição, 1945
Tendinha, 1945
Fado do Ciúme, 1945
Ai Mouraria, 1945
Maria da Cruz, 1945
Ai Mouraria, 1951/52
Sabe-se Lá, 1951/52
Novo Fado da Severa, 1953
Uma Casa Portuguesa, 1953
Primavera, 1954
Tudo Isto é Fado, 1955
Foi Deus, 1956
Amália no Olympia, 1957
Povo que Lavas no Rio, 1963
Estranha Forma de Vida, 1964
Amália Canta Luís de Camões, 1965
Formiga Bossa Nossa, 1969
Amália e Vinicius, 1970 (Vinícius de Moraes ile)
Com que Voz, 1970
Fado Português, 1970
Oiça Lá ó Senhor Vinho, 1971
Amália no Japão, 1971
Cheira a Lisboa, 1972
Amália no Canecão, 1976
Cantigas da Boa Gente, 1976
Lágrima, 1983
Amália na Broadway, 1984
O Melhor de Amália - Estranha Forma de Vida, 1985
O Melhor de Amália volume 2 - Tudo Isto é Fado, 1985
Obsessão, 1990
Abbey Road 1952' , 1992
Segredo, 1997
Filmleri
Capas Negras (1947)
Fado, História d'uma Cantadeira (1948)
Vendaval Maravilhoso (1949)
April in Portugal (1954)
Amants du Tage, Les (1955)
Sangue Toureiro (1958)
Música de siempre (1958)
Céu da Minha Rua, O (1958) (TV)
Canciones unidas, Las (1960)
Fado Corrido (1964)
Ilhas Encantadas, As (1965)
A Sapateira Prodigiosa (1968) (TV)
"Deuses Estão Mortos, Os" (1971) (TV Dizisi)
Bis ans Ende der Welt (1991)
"Parabéns" (1993)
ekşi sözlük
Kendisine verilen 'Fadonun Kraliçesi' ünvanını tüm varlığıyla haketmis, 99 yılında vefat etmiştir. Edith Piaf Fransa için ne ise Amalia Rodrigues de Portekiz için aynı önemdedir. "Portekiz'in Sesi" ona verilen ikinci bir ünvandır.
Amalia'nin fakirlik ve çaresizlikle dolu çocukluk günleri fado'nun tüm unsurlarını barindırmaktadir. Kendi yaradılışının da hep melankoliye yatkın olduğu, üstelik daha çocuklugundan itibaren bir ölüm saplantısı olduğu söylenir.
Çocuk yaşta annesi ve kardesleriyle Lizbon limanında meyve ve hediyelik esya satarken söylediği şarkılarla fark edilmiş, bundan sonra da ailesinin karşı çikmasına rağmen gece klüplerinde, tavernalarda çalışarak daha yirmisine gelmeden büyük üne kavuşmuştur.
1940'lardan sonra gittikçe yükselen bir kariyere imzasını atmış; tiyatrolar, filmler, dünya çapında konserler hayatı olmuş, geniş hayran kitleleri edinmiştir kendine. Salazar diktası altında Portekiz dünyaca dışlanırken Amalia başarıyla elçilik yapmıştır.
Hep siyahlar giyerek çıkmıştır sahneye. Son sahne performansıysa 98'deki Lizbon Expo Fuarının açılışındadır.
Her türlü acıyı ifade edebilen inanılmaz güzellikte, berraklıkta mezzo-soprano bir sesi vardır. "I don't sing fado, it sings in me" diyerek bir his insanı olduğunu tekrar kanıtlamıştır.
http://www.imdb.com/name/nm0735052/
Amália RodriguesAmália da Piedade Rebordão Rodrigues, (d. Temmuz 1920 – 6 Ekim 1999) Portekizli fado şarkıcısı ve aktris. Lizbon'da 1920 yılında doğdu. Resmi kaynaklara göre doğum günü 23 Temmuz görünmesine rağmen, doğum gününün 1 Temmuz olduğu iddia etti.
Fado müziğinin en bilinen ismi olan sanatçı Fadonun Kraliçesi (Rainha do Fado) olarak ünlenmiştir.
Amália da Piedade Rodrigues, GCSE, GCIH, (July 23, 1920 – October 6, 1999), also known as Amália Rodrigues (Portuguese pronunciation: [ɐˈmaliɐ ʁuˈdɾiɡɨʃ]) was a Portuguese singer and actress. Despite official documents give her date of birth as July 23, Rodrigues always said her birthday was July 1, 1920 . She was born in Lisbon, in the rua Martim Vaz (Martim Vaz Street), neighborhood of Pena. Her father was a trumpet player and cobbler from Fundão who returned there when Amália was just over a year old, leaving her to live in Lisbon with her maternal grandmother in a deeply Catholic environment until she was 14, when her parents returned to the capital and she moved back in with them.
She was known as the "Rainha do Fado" ("Queen of Fado") and was most influential in popularizing the fado worldwide. In fact, she was one of the most important figures in the genre’s development, and enjoyed a 40-year recording and stage career. Rodrigues' performances and choice of repertoire pushed fado’s boundaries and helped redefine it and reconfigure it for her and subsequent generations. In effect, Rodrigues wrote the rulebook on what fado could be and on how a female fadista — or fado singer — should perform it, to the extent that she remains an unsurpassable model and an unending source of repertoire for all those who came afterwards. Rodrigues enjoyed an extensive international career between the 1950s and the 1970s, although in an era where such efforts were not as easily quantified as today. Other well-known international fado artists such as Madredeus, Dulce Pontes and Mariza have come close, however.
The early years
After a few years of amateur performances, Rodrigues’ first professional engagement in a fado venue took place in 1939, and she quickly became a regular guest star in stage revues . There she met Frederico Valério, a classically-trained composer who, recognising the potential in such a voice, wrote expansive melodies custom-designed for Rodrigues’ voice, breaking the rules of fado by adding orchestral accompaniment. One of these composed fados was 'Fado do Ciúme'.
Her Portuguese popularity began to extend abroad with trips to Spain, a lengthy stay in Brazil (where, in 1945, she made her first recordings on Brazilian label Continental) and Paris (1949). In 1950, while performing at the Marshall Plan international benefit shows, she introduces 'April in Portugal' to international audiences, under its original title "Coimbra".
In the early fifties, the patronage of acclaimed Portuguese poet David Mourão-Ferreira marked the beginning of a new phase: Rodrigues sang with many of the country's greatest poets, and some wrote lyrics specifically for her.
See her full biography in https://www.youtube.com/watch?v=4Rlf7oT-Dk0
The middle years
In 1954, Rodrigues' international career skyrocketed through her presence in Henri Verneuil’s film The Lovers of Lisbon (Les Amants du Tage), where she had a supporting role and performed on-screen. By the late 1950s the USA, Britain, and France had become her major international markets; Japan and Italy followed suit in the 1970s. In France especially, her popularity rivaled her Portuguese success, and she graduated to headliner at the prestigious Olympia theatre within a matter of months. This lead to the release of the album Portugal's Great Amália Rodrigues Live at the Olympia Theatre in Paris, in 1957, on Monitor Records (now under Smithsonian Folkways). Over the years, she performed nearly all over the world — going as far as the Soviet Union and Israel.
At the end of the 1950s, Rodrigues took a year off. She returned in 1962 with a richer voice, concentrating on recording and performing live at a slower pace. Her comeback album, 1962's Amália Rodrigues, was her first collaboration with French composer Alain Oulman, her main songwriter and musical producer throughout the decade. As Frederico Valério, before him, Oulman wrote melodies for her that transcended the conventions of fado.
Rodrigues did not shy away from controversy: her performance in Carlos Vilardebó’s 1964 arthouse film The Enchanted Islands was better received than the film, based on a short story by Herman Melville, and her 1965 recording of poems by 16th century poet Luís de Camões generated acres of newspaper polemics. Yet her popularity remained untouched. Her 1968 single Vou dar de beber à dor broke all sales records and her 1970 album Com que voz won a number of international awards.
The later years
During the 1970s, Rodrigues concentrated on live work, and embarked upon a heavy schedule of worldwide concert performances. During the frenetic post-April 25, 1974 period she was falsely accused of being a covert agent of the PIDE, causing some trauma to her public life and career. In fact, during the Salazar years, Rodrigues had been an occasional financial supporter of some communists in need. Her return to the recording studio in 1977 with Cantigas numa Língua Antiga was received as a triumph. The 1980s and 1990s brought her enthronement as a living legend. Her last all-new studio recording, Lágrima, was released in 1983. It was followed by a series of previously lost or unreleased recordings, and the smash success of two greatest hits collections that sold over 200,000 copies combined.
Despite a series of illnesses involving her voice, Rodrigues continued recording as late as 1990. She eventually retreated from public performance, although her career gained in stature with an official biography by historian and journalist Vítor Pavão dos Santos, and a five-hour TV series documenting her fifty-year career featuring rare archival footage (later distilled into the 90-minute film documentary, The Art of Amália). Its director, Bruno de Almeida, has also produced Amália, Live in New York City, a concert film of her 1990 performance at New York City Town Hall.
On October 6, 1999, Amália Rodrigues died at the age of 79 in her home in Lisbon 38°42′59″N 9°09′18″W / 38.716269°N 9.154921°W / 38.716269; -9.154921. Portugal's government promptly declared a period of national mourning . Her house, in Rua de São Bento, is now a museum. She is buried at the National Pantheon alongside other Portuguese notables. In 2007, she came in 14th in Portugal's election of Os Grandes Portugueses (The Greatest Portuguese) . One year later, in 2008, a film about her life Amália was released, with Sandra Barata portraying her .
Family
Rodrigues' parents had nine children: Vicente and Filipe, José and António (who both died in childhood), Amália, Celeste, Aninhas (who died at sixteen), Maria da Glória (who died shortly after birth), and Maria Odete. In 1940, she married Francisco Cruz, a lathe worker and amateur guitar player from whom she separated in 1943 and whom she divorced in 1946. In 1961, in Rio de Janeiro, she married César Seabra, a Brazilian engineer; they remained married until his death in 1999. She had no children
Albümleri
Perseguição, 1945
Tendinha, 1945
Fado do Ciúme, 1945
Ai Mouraria, 1945
Maria da Cruz, 1945
Ai Mouraria, 1951/52
Sabe-se Lá, 1951/52
Novo Fado da Severa, 1953
Uma Casa Portuguesa, 1953
Primavera, 1954
Tudo Isto é Fado, 1955
Foi Deus, 1956
Amália no Olympia, 1957
Povo que Lavas no Rio, 1963
Estranha Forma de Vida, 1964
Amália Canta Luís de Camões, 1965
Formiga Bossa Nossa, 1969
Amália e Vinicius, 1970 (Vinícius de Moraes ile)
Com que Voz, 1970
Fado Português, 1970
Oiça Lá ó Senhor Vinho, 1971
Amália no Japão, 1971
Cheira a Lisboa, 1972
Amália no Canecão, 1976
Cantigas da Boa Gente, 1976
Lágrima, 1983
Amália na Broadway, 1984
O Melhor de Amália - Estranha Forma de Vida, 1985
O Melhor de Amália volume 2 - Tudo Isto é Fado, 1985
Obsessão, 1990
Abbey Road 1952' , 1992
Segredo, 1997
Filmleri
Capas Negras (1947)
Fado, História d'uma Cantadeira (1948)
Vendaval Maravilhoso (1949)
April in Portugal (1954)
Amants du Tage, Les (1955)
Sangue Toureiro (1958)
Música de siempre (1958)
Céu da Minha Rua, O (1958) (TV)
Canciones unidas, Las (1960)
Fado Corrido (1964)
Ilhas Encantadas, As (1965)
A Sapateira Prodigiosa (1968) (TV)
"Deuses Estão Mortos, Os" (1971) (TV Dizisi)
Bis ans Ende der Welt (1991)
"Parabéns" (1993)
ekşi sözlük
Kendisine verilen 'Fadonun Kraliçesi' ünvanını tüm varlığıyla haketmis, 99 yılında vefat etmiştir. Edith Piaf Fransa için ne ise Amalia Rodrigues de Portekiz için aynı önemdedir. "Portekiz'in Sesi" ona verilen ikinci bir ünvandır.
Amalia'nin fakirlik ve çaresizlikle dolu çocukluk günleri fado'nun tüm unsurlarını barindırmaktadir. Kendi yaradılışının da hep melankoliye yatkın olduğu, üstelik daha çocuklugundan itibaren bir ölüm saplantısı olduğu söylenir.
Çocuk yaşta annesi ve kardesleriyle Lizbon limanında meyve ve hediyelik esya satarken söylediği şarkılarla fark edilmiş, bundan sonra da ailesinin karşı çikmasına rağmen gece klüplerinde, tavernalarda çalışarak daha yirmisine gelmeden büyük üne kavuşmuştur.
1940'lardan sonra gittikçe yükselen bir kariyere imzasını atmış; tiyatrolar, filmler, dünya çapında konserler hayatı olmuş, geniş hayran kitleleri edinmiştir kendine. Salazar diktası altında Portekiz dünyaca dışlanırken Amalia başarıyla elçilik yapmıştır.
Hep siyahlar giyerek çıkmıştır sahneye. Son sahne performansıysa 98'deki Lizbon Expo Fuarının açılışındadır.
Her türlü acıyı ifade edebilen inanılmaz güzellikte, berraklıkta mezzo-soprano bir sesi vardır. "I don't sing fado, it sings in me" diyerek bir his insanı olduğunu tekrar kanıtlamıştır.
Admin- Admin
- Mesaj Sayısı : 2401
Kayıt tarihi : 01/04/08 -
.
Admin Paz Ocak 24, 2010 11:49 am
En son Admin tarafından Ptsi Eyl. 22, 2014 11:29 pm tarihinde değiştirildi, toplamda 3 kere değiştirildi
Admin- Admin
- Mesaj Sayısı : 2401
Kayıt tarihi : 01/04/08 -
Amalia Rodrigues la Diva du fado - live en Belgique en 1973.
Admin Paz Ocak 24, 2010 11:50 am
En son Admin tarafından Ptsi Eyl. 22, 2014 11:31 pm tarihinde değiştirildi, toplamda 1 kere değiştirildi
Admin- Admin
- Mesaj Sayısı : 2401
Kayıt tarihi : 01/04/08 -
.
Admin Paz Ocak 24, 2010 11:52 am
Fui à praia, e vi nos limos
A nossa vida enredada,
Ó meu amor, se fugirmos,
Ninguém saberá de nada!
Na esquina de cada rua,
Uma sombra nos espreita.
E nos olhares se insinua,
De repente, uma suspeita.
Fui ao campo, e vi os ramos
Decepados e torcidos.
Ó meu amor, se ficamos,
Pobres dos nossos sentidos!
Em tudo vejo fronteiras,
Fronteiras ao nosso amor.
Longe daqui, onde queiras,
A vida será maior!
Nem as esperanças do céu
Me conseguem demover.
Este amor é teu e meu,
Só na Terra o queremos ter.
En son Admin tarafından Ptsi Eyl. 22, 2014 11:34 pm tarihinde değiştirildi, toplamda 2 kere değiştirildi
Admin- Admin
- Mesaj Sayısı : 2401
Kayıt tarihi : 01/04/08 -
Admin- Admin
- Mesaj Sayısı : 2401
Kayıt tarihi : 01/04/08 -
Povo que lavas no rio
Admin Paz Ocak 24, 2010 12:11 pm
Interprète : Amalia Rodrigues
os Poetas Pedro Homem de Mello/ Joaquim Campos
=====
1ère page : traduction Jean-Charles Rosa
=====
[size=18][b]Povo que lavas no rio
E talhas com o teu machado
As tábuas do meu caixão.
Pode haver quem te defenda
Quem compre o teu chão sagrado
Mas a tua vida não.
Fui ter à mesa redonda
Bebi em malga que me esconde
O beijo de mão em mão.
Era o vinho que me deste
A água pura, puro agreste
Mas a tua vida não.
Aromas de luz e de lama
Dormi com eles na cama
Tive a mesma condição.
Povo, povo, eu te pertenço
Deste-me alturas de incenso,
Mas a tua vida não.
Povo que lavas no rio
E talhas com o teu machado
As tábuas do meu caixão.
Pode haver quem te defenda
Quem compre o teu chão sagrado
Mas a tua vida não.
En son Admin tarafından Ptsi Eyl. 22, 2014 11:26 pm tarihinde değiştirildi, toplamda 2 kere değiştirildi
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Kayıt tarihi : 01/04/08 -
muzicafe :: KLASİK MÜZİK :: MÜZİKALLER :: POP MÜZİK :: YABANCI POP MÜZİK :: YABANCI POP MÜZİK SANATÇILARI
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