Amália da Piedade Rebordão Rodrigues (1920–1999) was a Portuguese singer an… Read Full Bio ↴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 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.

Carta A Um Irmão Brasileiro
Amália Rodrigues Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Ah meu irmão brasileiro tivesse eu dinheiro
Tivesse eu dinheiro ah meu irmão brasileiro
Tivesse eu dinheiro tivesse eu dinheiro
Ah meu irmão brasileiro tivesse eu dinheiro
Tivesse eu dinheiro ah meu irmão brasileiro
Tivesse eu dinheiro tivesse eu dinheiro

Tivesse eu dinheiro iria à Bahia

Veria a Belém belém do Pará
Iria em visita a São Salvador
Iria a Brasília assim não vou lá

Tivesse eu dinheiro iria ao Sertão
Beber poesia, até naufragar
Depois ficaria ouvindo o Catulo
Chorando poemas ao som do luar

Ah meu irmão brasileiro tivesse eu dinheiro
Tivesse eu dinheiro ai meu irmão brasileiro
Tivesse eu dinheiro tivesse eu dinheiro
Ah meu irmão brasileiro tivesse eu dinheiro
Tivesse eu dinheiro ah meu irmão brasileiro
Tivesse eu dinheiro tivesse eu dinheiro

Tivesse eu dinheiro iria ao Recife
Rio de Janeiro tivesse eu juízo
Assim como posso irmão brasileiro
Se um livro de versos só dá prejuízo
Santos, Salvador natal, Paraná
Brasília e São Paulo belém do Pará
Rio de Janeiro recife, Bahia
Manaus, Mato Grosso sertão, poesia

Ah meu irmão brasileiro tivesse eu dinheiro
Tivesse eu dinheiro ah meu irmão brasileiro
Tivesse eu dinheiro tivesse eu dinheiro
Ah meu irmão brasileiro tivesse eu dinheiro
Tivesse eu dinheiro ah meu irmão brasileiro
Tivesse eu dinheiro tivesse eu dinheiro
Ah meu irmão brasileiro tivesse eu dinheiro
Tivesse eu dinheiro ah meu irmão brasileiro
Tivesse eu dinheiro tivesse eu dinheiro
Ah meu irmão brasileiro tivesse eu dinheiro
Tivesse eu dinheiro ah meu irmão brasileiro
Tivesse eu dinheiro tivesse eu dinheiro
Ah meu irmão brasileiro tivesse eu dinheiro
Tivesse eu dinheiro ah meu irmão brasileiro
Tivesse eu dinheiro tivesse eu dinheiro
Ah meu irmão brasileiro tivesse eu dinheiro
Tivesse eu dinheiro ah meu irmão brasileiro
Tivesse eu dinheiro tivesse eu dinheiro

Ah meu irmão brasileiro tivesse eu dinheiro
Tivesse eu dinheiro

Overall Meaning

The lyrics of "Carta A Um Irmão Brasileiro" by Amália Rodrigues express a longing and a sense of regret for not having the financial means to visit different cities and regions in Brazil. The singer addresses her Brazilian brother, emphasizing the phrase "tivesse eu dinheiro" (if I only had money) throughout the song. She mentions several places she would like to visit: Bahia, Belém do Pará, São Salvador, Brasília, and the Sertão.

In the first verse, the singer expresses her desire to visit Bahia and Belém do Pará, cities known for their cultural richness and vibrant music scenes. She also mentions São Salvador, which refers to Salvador, the capital of Bahia, known for its historic architecture and Afro-Brazilian culture. The use of the phrase "Iria a Brasília assim não vou lá" (I would go to Brasília, but I'm not going) implies that the singer doesn't have the financial means to visit the modern capital of Brazil.

In the second verse, the singer expresses her desire to visit the Sertão, a region in northeastern Brazil known for its arid landscapes and rich cultural traditions. She mentions the desire to "beber poesia" (drink poetry), suggesting a thirst for the beauty and inspiration that the region's culture can offer. The mention of Catulo, a reference to the Brazilian poet Catulo da Paixão Cearense, implies a desire to listen to his poetry while being moved by the moonlit atmosphere.

Line by Line Meaning

Ah, if only I had money, my Brazilian brother
If only I had money, ah, my Brazilian brother

If only I had money, if only I had money
Ah, if only I had money, my Brazilian brother

If only I had money, ah, my Brazilian brother
If only I had money, if only I had money

If only I had money, I would go to Bahia
I would see Belém, Belém do Pará

I would visit São Salvador
I would go to Brasília, but I won't go there

If only I had money, I would go to the Backwoods
To drink poetry until I drown

Then I would stay listening to Catulo
Crying poems to the sound of the moonlight

Ah, if only I had money, my Brazilian brother
If only I had money, ah, my Brazilian brother

If only I had money, if only I had money
Ah, if only I had money, my Brazilian brother

If only I had money, ah, my Brazilian brother
If only I had money, if only I had money

If only I had money, I would go to Recife
Rio de Janeiro, if only I had common sense

But how can I, my Brazilian brother
If a book of verses only brings losses

Santos, Salvador, Natal, Paraná
Brasília and São Paulo, Belém do Pará

Rio de Janeiro, Recife, Bahia
Manaus, Mato Grosso, backwoods, poetry