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.
Canzone per Te
Amália Rodrigues Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
il cielo non e più con noi
il nostro amore era l'invidia di chi è solo
era il mio orgoglio, la tua allegria
E' stato tanto grande ormai, non sa morire
per questo canto, e canto te
La solitudine che tu mi hai regalato
Chissà se finirà,
se un nuovo sogno la mia mano prenderà
se a un'altra io dirò le cose che io dicevo a te
Ma oggi devo dire che ti voglio bene
per questo canto, e canto te
E' stato tanto grande ormai, non sa morire
per questo canto, e canto te
Chissà se finirà,
se un nuovo sogno la mia mano prenderà
se a un'altra io dirò le cose che io dicevo a te
Ma oggi devo dire che ti voglio bene
per questo canto, e canto te
E' stato tanto grande ormai, non sa morire
per questo canto, e canto te
Checked by-=@rthurfox=-
-=Love Never Ends=-
The song "Canzone per Te," sung by Amália Rodrigues, is a touching tribute to a past love. The singer reminisces about their love and how it was the envy of others who were alone. The lyrics describe the end of a celebration that had just begun, and now the sky seems to be against them. However, their love was so great that it cannot die, which is why the singer sings about it.
The singer also expresses gratitude for the loneliness the past love has bestowed upon them. It is something that they have come to cherish and cultivate like a flower. While there may be a possibility of finding a new love, the singer acknowledges that their love for their past partner is still present. They wonder whether they will be able to say the same things to a new partner as they did with their past love.
Overall, the lyrics of the song Canzone per Te express a deeply emotional experience of a lost love. The singer acknowledges the possibility of moving on but also recognizes the value and significance of their past love.
Line by Line Meaning
La festa appena incominciata e già finita
The celebration has just begun and it's already over
il cielo non e più con noi
The sky is no longer with us
il nostro amore era l'invidia di chi è solo
Our love was the envy of those who are alone
era il mio orgoglio, la tua allegria
It was my pride, your joy
E' stato tanto grande ormai, non sa morire
It has been so great, it cannot die
per questo canto, e canto te
That's why I sing this song to you, and I sing to you
La solitudine che tu mi hai regalato
The loneliness that you have given to me
io la coltivo come un fiore
I cultivate it like a flower
Chissà se finirà,
Who knows if it will end
se un nuovo sogno la mia mano prenderà
If a new dream will take my hand
se a un'altra io dirò le cose che io dicevo a te
If I will say to someone else the things I used to say to you
Ma oggi devo dire che ti voglio bene
But today I have to say that I love you
per questo canto, e canto te
That's why I sing this song to you, and I sing to you
E' stato tanto grande ormai, non sa morire
It has been so great, it cannot die
per questo canto, e canto te
That's why I sing this song to you, and I sing to you
Chissà se finirà,
Who knows if it will end
se un nuovo sogno la mia mano prenderà
If a new dream will take my hand
se a un'altra io dirò le cose che io dicevo a te
If I will say to someone else the things I used to say to you
Ma oggi devo dire che ti voglio bene
But today I have to say that I love you
per questo canto, e canto te
That's why I sing this song to you, and I sing to you
E' stato tanto grande ormai, non sa morire
It has been so great, it cannot die
per questo canto, e canto te
That's why I sing this song to you, and I sing to you
Contributed by Riley T. Suggest a correction in the comments below.
Emil Rejon
La festa appena cominciata
È già finita
Il cielo non è più con noi
Il nostro amore era l'invidia di chi è solo
Era il mio orgoglio la tua allegria
È stato tanto grande e ormai
Non sa morire
Per questo canto e canto te
La solitudine che tu mi hai regalato
Io la coltivo come un fiore
Chissà se finirà
Se un nuovo sogno la mia mano prenderà
Se a un'altra io dirò
Le cose che dicevo a te
Ma oggi devo dire che
Ti voglio bene
Per questo canto e canto te
È stato tanto grande e ormai non sa morire
Per questo canto e canto te
Emil Rejon
La festa appena cominciata
È già finita
Il cielo non è più con noi
Il nostro amore era l'invidia di chi è solo
Era il mio orgoglio la tua allegria
È stato tanto grande e ormai
Non sa morire
Per questo canto e canto te
La solitudine che tu mi hai regalato
Io la coltivo come un fiore
Chissà se finirà
Se un nuovo sogno la mia mano prenderà
Se a un'altra io dirò
Le cose che dicevo a te
Ma oggi devo dire che
Ti voglio bene
Per questo canto e canto te
È stato tanto grande e ormai non sa morire
Per questo canto e canto te
nandofigueira2005
Caro fratello popolo italiano, questo è un regalo per te da parte di noi portoghesi.
Livre Dois
Obrigado aos irmãos de Portugal.
Maria Fiorillo
Una delle più belle versioni di questa già meravigliosa canzone!
Piero Caluori
Grande interpretazione di Amalia Rodrigues. Si mostra tra le grandi e non solo per il fado.
morbinful
Quando una grande voce, come quella della regina del fado Amalia Rodriguez, sa rendere ancora più grande una canzone, vestendola della sua emozionante espressione vocale ed interpretativa.
Astridy Gurgel
Amo essa canção! Amália Rodrigues a cantava lindamente.
manuelaantonio abreu
A Amália cantava tudo era inacreditável será eterna
FAUSTORICCARDO
Una grande interpretazione da una meravigliosa voce
Maria Fernanda Moço
Belíssima❤❤