Amália Rodrigues
Amália da Piedade Rebordão Rodrigues (1920–1999) was a Portuguese singer and actress.
Born in Lisbon, Portugal, official documents have her date of birth as the 23rd July, but Rodrigues always said her birthday was the 1st July 1920. She was born in the rua Martim Vaz (Martim Vaz Street), freguesia of Pena, Lisbon. Her father was a trumpet player and cobbler from Fundão who returned there when Amália was just over a year old, leaving her to Read Full BioAmália da Piedade Rebordão Rodrigues (1920–1999) was a Portuguese singer and actress.
Born in Lisbon, Portugal, official documents have her date of birth as the 23rd July, but Rodrigues always said her birthday was the 1st July 1920. She was born in the rua Martim Vaz (Martim Vaz Street), freguesia of Pena, Lisbon. 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 fourteen, 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 popularising fado worldwide. She was unquestionably the most important figure in the genre’s development, by virtue of an innate interpretive talent carefully nurtured throughout a forty-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 singer - or fadista - should perform it, to the extent that she remains an unsurpassable model and an unending source of repertoire for all those who came afterwards.
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.
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 (in 1949). In 1950, while performing at the Marshall Plan international benefit shows, she introduced "April in Portugal" to international audiences (under its original title "Coimbra"). In the early fifties, the patronage of the acclaimed Portuguese poet David Mourão-Ferreira marked the beginning of a new phase; Rodrigues sang many of the country's greatest poets, and some wrote lyrics specifically for her.
In 1954, Rodrigues' international career skyrocketed through her presence in Henri Verneuil’s film The Lovers of Lisbon, where she had a supporting role and performed on-screen. By the late 1950s the USA, England, and France had become her major international markets (Japan and Italy followed in the 1970s); in France especially, her popularity rivalled her Portuguese success, and she graduated to headliner at the prestigious Olympia theatre within a matter of months. 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 Valério had 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, considered by many her definitive recording, won a number of international awards.
During the 1970s, Rodrigues concentrated on live work, and embarked upon a heavy schedule of worldwide concert performances. During the frenetic period after the 25th April 1974 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 television series documenting her fifty-year career, featuring rare archival footage (later distilled into the ninety-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 Hall).
Rodrigues died on the 6th October 1999 at the age of seventy-nine in her home in Lisbon. Portugal's government promptly declared a period of national mourning. Her house (in Rua de São Bento) is now a museum. She is now buried at the National Pantheon alongside other Portuguese notables.
1946.
Born in Lisbon, Portugal, official documents have her date of birth as the 23rd July, but Rodrigues always said her birthday was the 1st July 1920. She was born in the rua Martim Vaz (Martim Vaz Street), freguesia of Pena, Lisbon. Her father was a trumpet player and cobbler from Fundão who returned there when Amália was just over a year old, leaving her to Read Full BioAmália da Piedade Rebordão Rodrigues (1920–1999) was a Portuguese singer and actress.
Born in Lisbon, Portugal, official documents have her date of birth as the 23rd July, but Rodrigues always said her birthday was the 1st July 1920. She was born in the rua Martim Vaz (Martim Vaz Street), freguesia of Pena, Lisbon. 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 fourteen, 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 popularising fado worldwide. She was unquestionably the most important figure in the genre’s development, by virtue of an innate interpretive talent carefully nurtured throughout a forty-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 singer - or fadista - should perform it, to the extent that she remains an unsurpassable model and an unending source of repertoire for all those who came afterwards.
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.
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 (in 1949). In 1950, while performing at the Marshall Plan international benefit shows, she introduced "April in Portugal" to international audiences (under its original title "Coimbra"). In the early fifties, the patronage of the acclaimed Portuguese poet David Mourão-Ferreira marked the beginning of a new phase; Rodrigues sang many of the country's greatest poets, and some wrote lyrics specifically for her.
In 1954, Rodrigues' international career skyrocketed through her presence in Henri Verneuil’s film The Lovers of Lisbon, where she had a supporting role and performed on-screen. By the late 1950s the USA, England, and France had become her major international markets (Japan and Italy followed in the 1970s); in France especially, her popularity rivalled her Portuguese success, and she graduated to headliner at the prestigious Olympia theatre within a matter of months. 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 Valério had 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, considered by many her definitive recording, won a number of international awards.
During the 1970s, Rodrigues concentrated on live work, and embarked upon a heavy schedule of worldwide concert performances. During the frenetic period after the 25th April 1974 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 television series documenting her fifty-year career, featuring rare archival footage (later distilled into the ninety-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 Hall).
Rodrigues died on the 6th October 1999 at the age of seventy-nine in her home in Lisbon. Portugal's government promptly declared a period of national mourning. Her house (in Rua de São Bento) is now a museum. She is now buried at the National Pantheon alongside other Portuguese notables.
1946.
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Uma Casa Portuguesa
Amália Rodrigues Lyrics
Numa casa portuguesa fica bem
Pão e vinho sobre a mesa
E se à porta humildemente bate alguém
Senta-se à mesa com a gente
Fica bem essa fraqueza fica bem
Que o povo nunca a desmente
A alegria da pobreza
Está nesta grande riqueza
De dar e ficar contente
Quatro paredes caiadas
Um cheirinho à alecrim
Um cacho de uvas doiradas
Duas rosas num jardim
Um São José de azulejo
Mais o sol da primavera
Uma promessa de beijos
Dois braços à minha espera
É uma casa portuguesa com certeza
É com certeza uma casa portuguesa
No conforto pobrezinho do meu lar
Há fartura de carinho
A cortina da janela e o luar
Mais o sol que bate nela
Basta pouco poucochinho pra alegrar
Uma existência singela
É só amor pão e vinho
E um caldo verde verdinho
A fumegar na tijela
Quatro paredes caiadas
Um cheirinho à alecrim
Um cacho de uvas doiradas
Duas rosas num jardim
Um São José de azulejo
Mais o sol da primavera
Uma promessa de beijos
Dois braços à minha espera
É uma casa portuguesa com certeza
É com certeza uma casa portuguesa
É uma casa portuguesa com certeza
É com certeza uma casa portuguesa
Lyrics © O/B/O APRA AMCOS
Written by: Arthur Vaz Da Fonseca, Reinaldo Ferreira, Vasco De Matos Sequeira
Lyrics Licensed & Provided by LyricFind
To comment on specific lyrics, highlight them
Antoine Spada
Une maison portugaise,
Dans une maison portugaise c'est bien,
pain et vin sur la table.
et si quelqu'un frappe humblement à la porte,
s'asseoir à table avec nous.
Cette franchise c'est bien, c'est bien,
que le peuple ne nie jamais.
La joie de la pauvreté,
est dans cette grande richesse,
donner et être heureux.
quatre murs blanchis à la chaux,
un parfum de romarin,
une grappe de raisin doré,
deux roses dans un jardin,
une tuile Saint Joseph,
plus le soleil du printemps...
une promesse de bisous...
deux bras m'attendent...
C'est une maison portugaise à coup sûr!
C'est bien sûr une maison portugaise !
Dans le pauvre confort de ma maison,
il y a beaucoup d'affection.
et le rideau de la fenêtre est clair de lune,
mais le soleil qui tape dessus...
Juste un peu, un peu pour se remonter le moral,
une existence simple...
C'est juste de l'amour, du pain et du vin
et un bouillon vert, vert
fumer dans le bol.
quatre murs blanchis à la chaux,
un parfum de romarin,
une grappe de raisin doré,
deux roses dans un jardin,
carrelage san jose
encore un soleil de printemps...
une promesse de bisous...
deux bras m'attendent...
C'est une maison portugaise à coup sûr!
C'est bien sûr une maison portugaise !
C'est une maison portugaise à coup sûr!
C'est bien sûr une maison portugaise !
Yanez Salgueiro da Silva
Numa casa portuguesa fica bem
pão e vinho sobre a mesa.
e se à porta humildemente bate alguém,
senta-se à mesa co'a gente.
Fica bem esta franqueza, fica bem,
que o povo nunca desmente.
A alegria da pobreza
está nesta grande riqueza
de dar, e ficar contente.
Quatro paredes caiadas,
um cheirinho á alecrim,
um cacho de uvas doiradas,
duas rosas num jardim,
um São José de azulejos
mais o sol da primavera,
uma promessa de beijos
dois braços à minha espera...
É uma casa portuguesa, com certeza!
É, com certeza, uma casa portuguesa!
No conforto pobrezinho do meu lar,
há fartura de carinho.
e a cortina da janela é o luar,
mais o sol que bate nela...
Basta pouco, poucochinho p'ra alegrar
uma existência singela...
É só amor, pão e vinho
e um caldo verde, verdinho
a fumegar na tigela.
Quatro paredes caiadas,
um cheirinho á alecrim,
um cacho de uvas doiradas,
duas rosas num jardim,
um São José de azulejo
sob um sol de primavera,
uma promessa de beijos
dois braços à minha espera...
É uma casa portuguesa, com certeza!
É, com certeza, uma casa portuguesa!
Antoine Spada
Une maison portugaise,
Dans une maison portugaise c'est bien,
pain et vin sur la table.
et si quelqu'un frappe humblement à la porte,
s'asseoir à table avec nous.
Cette franchise c'est bien, c'est bien,
que le peuple ne nie jamais.
La joie de la pauvreté,
est dans cette grande richesse,
donner et être heureux.
quatre murs blanchis à la chaux,
un parfum de romarin,
une grappe de raisin doré,
deux roses dans un jardin,
une tuile Saint Joseph,
plus le soleil du printemps...
une promesse de bisous...
deux bras m'attendent...
C'est une maison portugaise à coup sûr!
C'est bien sûr une maison portugaise !
Dans le pauvre confort de ma maison,
il y a beaucoup d'affection.
et le rideau de la fenêtre est clair de lune,
mais le soleil qui tape dessus...
Juste un peu, un peu pour se remonter le moral,
une existence simple...
C'est juste de l'amour, du pain et du vin
et un bouillon vert, vert
fumer dans le bol.
quatre murs blanchis à la chaux,
un parfum de romarin,
une grappe de raisin doré,
deux roses dans un jardin,
carrelage san jose
encore un soleil de printemps...
une promesse de bisous...
deux bras m'attendent...
C'est une maison portugaise à coup sûr!
C'est bien sûr une maison portugaise !
C'est une maison portugaise à coup sûr!
C'est bien sûr une maison portugaise !
Nuno Canha e Sá
Uma alma imortal a cantar o fado.
E as novas gerações tb lhe seguem os passos...
Existe uma tradição inviolável quando se ouve fado ao vivo.
1º- No fado não se batem palmas.Pode se cantar c a artista mas palmas nunca.Só no final.
2ª-Talvez a mais importante e conhecida.
Quando alguém vai cantar fado, na sala ou local outra pessoa diz bem alto "SILÊNCIO QUE SE VAI CANTAR O FADO!"
a indicar o começo do momento que para muitos se torna eterno na memória.
Não se precisa ser português para sentir o fado, nem falar a nossa língua, precisa se apenas de ter alma.
O resto meus amigos, é fechar os olhos e sentir.
Já agora, o pastel de Belém chama se na sua forma original, pastel de nata.
Ficou com esse nome porque a casa que fazia os melhores e mais antigos pastéis de nata fica numa localidade que se chama Belém, ao lado do mosteiro dos Jerónimos onde estão sepultados vários Reis Portugueses e o nosso honroso Luís Vaz de Camões, um dos Pais da língua portuguesa na idade média.
Ionut Catangiu
Numa casa portuguesa fica bem
Pão e vinho sobre a mesa
E se à porta humildemente bate alguém
Senta-se à mesa com a gente
Fica bem essa fraqueza fica bem
Que o povo nunca a desmente
A alegria da pobreza
Está nesta grande riqueza
De dar e ficar contente
Quatro paredes caiadas
Um cheirinho à alecrim
Um cacho de uvas doiradas
Duas rosas num jardim
Um São José de azulejo
Mais o sol da primavera
Uma promessa de beijos
Dois braços à minha espera
É uma casa portuguesa com certeza
É com certeza uma casa portuguesa
No conforto pobrezinho do meu lar
Há fartura de carinho
A cortina da janela e o luar
Mais o sol que bate nela
Basta pouco poucochinho pra alegrar
Uma existência singela
É só amor pão e vinho
E um caldo verde verdinho
A fumegar na tigela
Quatro paredes caiadas
Um cheirinho à alecrim
Um cacho de uvas doiradas
Duas rosas num jardim
Um São José de azulejo
Mais o sol da primavera
Uma promessa de beijos
Dois braços à minha espera
É uma casa portuguesa com certeza
É com certeza uma casa portuguesa
É uma casa portuguesa com certeza
É com certeza uma casa portuguesa
SiKrano
A portuguese house
In a portuguese home, it looks good
to have bread and wine on the table.
and if someone humildly knocks at the door,
we invite them to sit at the table with us
This frankness looks good, so good ,
the frankness which people never deny
the joy of poverty
is this great richness
of being generous and feeling happy
Four whitewashed walls,
a sweet smell of rosemary,
a bunch of golden grapes
two roses in a garden,
a statue of St. Joseph in ceramics
and the sun of the spring in addiction ...
a promise of finding kisses
two open arms waiting for me
This is a portuguese home, certaily!
This is, surely, a portuguese home!
In the humild comfort of my home,
there is the plenty of affection.
and the curtain of the window is the moonlight,
and also the sun, that shines on it ...
Just a little is enough to cheer
such a simple existence
It's simply love, bread and wine
and the cabbage soup, so greenish
smoking from the bowl.
Enrique baeza-martínez
Numa casa portuguesa fica bem
Pão e vinho sobre a mesa
E se à porta humildemente bate alguém,
Senta-se à mesa com a gente
Fica bem essa fraqueza, fica bem,
Que o povo nunca a desmente
A alegria da pobreza
Está nesta grande riqueza
De dar, e ficar contente
Quatro paredes caiadas,
Um cheirinho à alecrim,
Um cacho de uvas doiradas,
Duas rosas num jardim,
Um São José de azulejo
Mais o sol da primavera,
Uma promessa de beijos
Dois braços à minha espera
É uma casa portuguesa, com certeza!
É, com certeza, uma casa portuguesa!
No conforto pobrezinho do meu lar,
Há fartura de carinho
A cortina da janela e o luar,
Mais o sol que bate nela
Basta pouco, poucochinho pra alegrar
Uma existência singela
É só amor, pão e vinho
E um caldo verde, verdinho
A fumegar na tijela
Quatro paredes caiadas,
Um cheirinho à alecrim,
Um cacho de uvas doiradas,
Duas rosas num jardim,
Um São José de azulejo
Mais o sol da primavera,
Uma promessa de beijos
Dois braços à minha espera
É uma casa portuguesa, com certeza!
É, com certeza, uma casa portuguesa!
É uma casa portuguesa, com certeza!
É, com certeza, uma casa portuguesa!
Carmen Yolanda Cifuentes Vallejo
Una casa Portuguesa.
una casa portugesa queda bien,
pan y vino sobre la mesa,
y si alguien toca humildemente la puerta,
se sienta en la mesa con nosotros.
Queda bien esta franqueza, queda bien,
que el pueblo no desmiente.
La alegría de la pobreza,
está en esta grande riqueza,
de dar, y quedar contento.
Cuatro paredes calladas,
un olorsito de romero,
algunas uvas doradas,
dos rosas en un jardín,
un San José de azulejo,
más el sol de la primavera...
Una promesa de besos...
Dos brazos que me esperan...
¡Es una casa portuguesa, con certeza!
¡Es, con certeza, una casa portuguesa!
En el confort pobresito de mi hogar,
hay hartura de cariño.
Y la cortina de la ventana es la luz de luna,
y el sol que la toca.
Basta poco, poquitito, para alegrar,
una existencia simple.
Es solo amor, pan y vino
y un caldo verde, verdesito,
fumigando en el cuenco.
Cuatro paredes calladas,
un olorsito de romero,
algunas uvas doradas,
dos rosas en un jardín,
un San José de azulejo,
más el sol de la primavera...
Una promesa de besos...
Dos brazos que me esperan...
¡Es una casa portuguesa, con certeza!
¡Es, con certeza, una casa portuguesa!
¡Es una casa portuguesa, con certeza!
¡Es, con certeza, una casa portuguesa!
Rodrigo Lima
Isso é tão português que o misto-quente que eu tava comendo virou um pastel de Belém. Adorei a canção, amo fado. Abraços de São Paulo
ציפי כהן
ענקית!!!!! איזו מתנה נפלאה !!!!!
Simone Furtado
Kkkk excelente!!!
Macedónio
Na verdade , a canção mais portuguesa, abraços do Porto amigo
Antoine Spada
Une maison portugaise,
Dans une maison portugaise c'est bien,
pain et vin sur la table.
et si quelqu'un frappe humblement à la porte,
s'asseoir à table avec nous.
Cette franchise c'est bien, c'est bien,
que le peuple ne nie jamais.
La joie de la pauvreté,
est dans cette grande richesse,
donner et être heureux.
quatre murs blanchis à la chaux,
un parfum de romarin,
une grappe de raisin doré,
deux roses dans un jardin,
une tuile Saint Joseph,
plus le soleil du printemps...
une promesse de bisous...
deux bras m'attendent...
C'est une maison portugaise à coup sûr!
C'est bien sûr une maison portugaise !
Dans le pauvre confort de ma maison,
il y a beaucoup d'affection.
et le rideau de la fenêtre est clair de lune,
mais le soleil qui tape dessus...
Juste un peu, un peu pour se remonter le moral,
une existence simple...
C'est juste de l'amour, du pain et du vin
et un bouillon vert, vert
fumer dans le bol.
quatre murs blanchis à la chaux,
un parfum de romarin,
une grappe de raisin doré,
deux roses dans un jardin,
carrelage san jose
encore un soleil de printemps...
une promesse de bisous...
deux bras m'attendent...
C'est une maison portugaise à coup sûr!
C'est bien sûr une maison portugaise !
C'est une maison portugaise à coup sûr!
C'est bien sûr une maison portugaise !
Helena Correia
@F Portella Não exatamente. Chamamos Pastéis de Belém aos pastéis de Belém. Ou pastéis de nata.
renan trotti
Minha avó se foi hoje. Obrigado Jesus por ter crescido em uma casa portuguesa
Gustavo Faria - Tabula Rasa
Meus avós eram portugueses. Meus pesames, meu amigo. Que Deus Pai conforte a sua família.
M Jones
🌷 a minha avó foi se há uns anos, estou aqui para lembrar como sempre me recebia de braços abertos. Saudades
Yanez Salgueiro da Silva
Numa casa portuguesa fica bem
pão e vinho sobre a mesa.
e se à porta humildemente bate alguém,
senta-se à mesa co'a gente.
Fica bem esta franqueza, fica bem,
que o povo nunca desmente.
A alegria da pobreza
está nesta grande riqueza
de dar, e ficar contente.
Quatro paredes caiadas,
um cheirinho á alecrim,
um cacho de uvas doiradas,
duas rosas num jardim,
um São José de azulejos
mais o sol da primavera,
uma promessa de beijos
dois braços à minha espera...
É uma casa portuguesa, com certeza!
É, com certeza, uma casa portuguesa!
No conforto pobrezinho do meu lar,
há fartura de carinho.
e a cortina da janela é o luar,
mais o sol que bate nela...
Basta pouco, poucochinho p'ra alegrar
uma existência singela...
É só amor, pão e vinho
e um caldo verde, verdinho
a fumegar na tigela.
Quatro paredes caiadas,
um cheirinho á alecrim,
um cacho de uvas doiradas,
duas rosas num jardim,
um São José de azulejo
sob um sol de primavera,
uma promessa de beijos
dois braços à minha espera...
É uma casa portuguesa, com certeza!
É, com certeza, uma casa portuguesa!