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.
Disse Mal De Ti
Amália Rodrigues Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Jurei, teimei, a todos convenci
Que és um impostor que nada sente
E ainda hoje disse mal de ti!
Afirmei que me bates, que me oprimes,
Que és covarde, que és cínico e promíscuo!
Serias bem capaz dos maiores crimes,
Todos me acreditaram cegamente!
Alguns olhos de lágrimas luzindo!
Chorei, gritei, gemi cinicamente,
Mas cá dentro minha alma ia sorrindo!
Na boca das mulheres vi o lume
Do ódio, do rancor que eu acendi!
Menti a toda a gente por ciúme!
Só eu quero gostar, gostar de ti!
The lyrics to Amália Rodrigues's song Disse Mal De Ti are about a person who speaks ill of someone they love out of jealousy. The singer convinces everyone that their lover is an impostor who feels nothing, capable of committing heinous crimes for money. The singer describes tears in people's eyes, hatred and resentment they have sowed. As they speak ill of their lover, they cry and pretend to be upset, but inside they are satisfied because only they want to love their lover.
The singer is consumed by jealousy and is insecure about their lover's feelings for them. They resort to spreading lies and making their lover out to be a terrible person in the eyes of others, even though they know that it is not true. The singer is unable to express their love openly and honestly, so they resort to tearing their lover down to feel better about themselves.
The song is a powerful commentary on the destructive power of jealousy and insecurity in relationships. It highlights the consequences of misusing one's words to damage a relationship. Ultimately, the singer admits that they lied about their lover out of jealousy and that they are the only ones who truly love them.
Line by Line Meaning
Fui dizer mal de ti a toda a gente,
I spoke ill of you to everyone,
Jurei, teimei, a todos convenci
I swore, persisted and convinced everyone,
Que és um impostor que nada sente
That you're a impostor who feels nothing,
E ainda hoje disse mal de ti!
And even today I talk badly about you!
Afirmei que me bates, que me oprimes,
I claimed that you beat me, oppress me,
Que és covarde, que és cínico e promíscuo!
That you're cowardly, cynical and promiscuous!
Serias bem capaz dos maiores crimes,
You'd be capable of the worst crimes,
Se te pagassem bem! Disse tudo isto!
If paid well! I said all of this!
Todos me acreditaram cegamente!
Everyone believed me blindly!
Alguns olhos de lágrimas luzindo!
Some eyes glinting with tears!
Chorei, gritei, gemi cinicamente,
I cried, shouted, groaned cynically,
Mas cá dentro minha alma ia sorrindo!
But inside, my soul was smiling!
Na boca das mulheres vi o lume
In the mouths of women, I saw the fire,
Do ódio, do rancor que eu acendi!
Of the hate, the resentment that I ignited!
Menti a toda a gente por ciúme!
I lied to everyone out of jealousy!
Só eu quero gostar, gostar de ti!
Only I want to love, to love you!
Contributed by Keira G. Suggest a correction in the comments below.