Her greatest mystery is the definition of her soul as a Fado singer, given … Read Full Bio ↴Her greatest mystery is the definition of her soul as a Fado singer, given she grew up away from the "family" of Fado. That soul is revealed in her intelligent voice, in her rare timbre, in the way the words sound so organic, syllable by syllable, note by note… The poems, the music set a mood for the story that is being sung; the instrumental accompaniment further underscores the intuition of the Fado singer, shaping the voice to the meaning of the words, to the musical improvisation. Together, these elements make the Art of Fado. It only appears when there is a soul. If there is a soul. Aldina's personality is entirely within her performing abilities. Everything in her art becomes immediately original, in a shockingly simple way. Aldina Duarte believes. Aldina Duarte makes us believe. Aldina Duarte began working at 20 in a newspaper. Then she worked in radio. She was a backing singer in an art school band. She performed in a film, Manuel Mozos's Xavier, where she sang the only Fado she had ever known, Rua do Capelão, one of Amália Rodrigues' greatest hits. Later, she started listening to Fado in a venue where she first came across Beatriz da Conceição, one of the genre's classic divas. They spoke of Fado, of life as a Fado singer. Aldina became enamoured of all she heard; asked for her advice, heard her speak of everything that means anything in Fado. She wished to sing Fado. She spent her days listening to records, her nights listening to singers, her months reading and memorizing poems. She sang in a stage play. Later she sang live during Lisbon's June celebrations; then she accepted an invitation for a TV variety show where she only lasted three programmes, realising it wasn't the road she wanted to take. It all suddenly fit into place when she sang, in a residency at a prestigious Lisbon theatre. Once a month, they would invite their favourite Fado singers and actors who would do poetry readings. The residency was often favourably mentioned in the press, audiences flocked.
Then Aldina was invited to sing nightly in a Fado venue; it was as if she had passed a tough entrance exam into a Fado school. She respected and maintained the rituals she had always found distinctive and beautiful about Fado: a black shawl, a black dress, silence, diffuse lighting. Everything she had ever loved about Fado. Her success led to invitations to sing in other Fado venues, to guest in concerts. One day she was invited to sing abroad, in the Piccolo Teatro of Milan; to sing Fado in a play about poet Fernando Pessoa, written by novelist and essayist Antonio Tabucchi and directed by lead actor Giancarlo Dettori, director Lamberto Puggelli and the Master, Giorgio Strehler. The experience helped shape what was to become her attitude towards Fado, leading her to be more careful about what she sang, and how she sang it. Besides singing professionally at the Senhor Vinho venue, Aldina has worked in the the Portuguese Cinemathèque - Cinema Museum and is currently a researcher at EMI Music Portugal where she is organizing the company's immense archives of Portuguese music - much of which is made up of Fado recordings. Beginning 2004, Aldina Duarte released her debut album “Apenas o Amor”. Since then she has been performing concerts in Portugal, Spain, France, Morocco, Italy, Belgium, Austria and The Netherlands. “Apenas o Amor” since its release has been referred as one of the best albums of 2004 by the Portuguese press. Her second cd "Crua" was released in January of 2006.The album was produced by João Monge who was also responsible for writing the lyrics... And now, 2008, the third album "Mulheres ao Espelho"...

Contos De Fados
Aldina Duarte Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Tantas terras, tantas gentes
Tantas sortes, tantas vidas
Que parecem tão diferentes
E que afinal são parecidas

Sejam de hoje ou de ontem
Inventadas ou vividas
Por mais vidas que se contem

Sobram sempre tantas vidas

São contos, contando contos
Que vivemos, que sonhamos,
A que se acrescentam pontos
De cada vez que os contamos

E se os contos são cantados
Se a rima for bem escolhida
Já não são contos, são fados
Já não são fados, são vida

Já não são contos, são fados
E se são fados, são vida.

Overall Meaning

The lyrics of Aldina Duarte's song Contos De Fados discuss the interconnectedness of human experiences through storytelling. The first stanza acknowledges the diversity of people and situations in the world, but also notes that at their core, they are all similar. The second stanza reflects on the power of storytelling as a way to share and connect human experiences. Whether the stories are true or invented, they all add to the richness of human existence. The chorus suggests that when stories are sung with a well-chosen rhyme, they become more than just tales - they become fados. Fados are a traditional storytelling form from Portugal that often deal with themes of longing, sorrow, and melancholy. By becoming fados, the stories take on a more significant and enduring meaning, becoming a part of the fabric of life itself.

Line by Line Meaning

Tantas terras, tantas gentes
There are so many lands and so many people

Tantas sortes, tantas vidas
So many fates, so many lives

Que parecem tão diferentes
That seem so different

E que afinal são parecidas
But in the end they are similar

Sejam de hoje ou de ontem
Whether they are from today or yesterday

Inventadas ou vividas
Whether they are made up or lived through

Por mais vidas que se contem
No matter how many lives are counted

Sobram sempre tantas vidas
There are always so many lives left

São contos, contando contos
They are stories, telling stories

Que vivemos, que sonhamos
That we live and dream

A que se acrescentam pontos
And to which points are added