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.

Formiga Bossa Nossa
Amália Rodrigues Lyrics

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Minuciosa formiga, não tem que se lhe diga
Leva a sua palhinha, não tem que se lhe diga
Leva a sua palhinha asinha, asinha

Assim devera eu ser assim devera eu ser
Assim devera eu ser assim devera eu ser

Assim devera eu ser

E não esta cigarra que se põe a cantar
E não esta cigarra que se põe a cantar
E me deita a perder

Assim devera eu ser assim devera eu ser
Assim devera eu ser assim devera eu ser

Assim devera eu ser
De patinhas no chão, formiguinha ao trabalho
De patinhas no chão, formiguinha ao trabalho
E ao tostão

Assim devera eu ser assim devera eu ser
Assim devera eu ser assim devera eu ser

Assim devera eu ser
De patinhas no chão, formiguinha ao trabalho
De patinhas no chão, formiguinha ao trabalho
E ao tostão

Assim devera eu ser assim devera eu ser

Assim devera eu ser se não fora
Não querer

Overall Meaning

The lyrics to Amalia Rodrigues's song Cuidei que Tinha Morrido speak of a deep and painful love that has left the singer feeling buried and alone. The first line, "Com que voz chorarei meu triste fado," asks how the singer will be able to sing their sad fate. The following lines describe the intensity of their passion and the way in which it has consumed them, ultimately leaving them in a state of constant melancholy. Despite their sorrow, the singer acknowledges that tears and sighs will not help them, and so they resign themselves to a life of sadness, mourning the happiness that used to be theirs. The final lines reveal the source of the singer's pain: a person who is no longer with them, for whom they have sacrificed everything and who they love with an unbridled intensity.

The song's depiction of all-consuming, unrequited love is a common theme in fado, a traditional genre of Portuguese music. Fado originated in Lisbon in the early 19th century and typically features mournful singing and guitar accompaniment. Amalia Rodrigues helped popularize fado in Portugal and internationally in the mid-20th century.

Line by Line Meaning

Com que voz chorarei meu triste fado
With what voice can I sing my sad fate?

Que em tão dura paixão me sepultou
My passion has buried me with such difficulty

Que mor não seja a dor que me deixou
I hope the pain that left me doesn't die

O tempo, de meu bem desenganado
Time has revealed that my love is in vain

Mas chorar não estima neste estado
Crying is not appreciated in this state

Aonde suspirar nunca aproveitou
Where sighing never did any good

Triste quero viver, pois se mudou
I want to live in sadness, since joy has fled

Em tristeza a alegria do passado
The joy from the past has turned into sadness

Assim a vida passo descontente
Thus my life passes in discontent

Ao som nesta prisão do grilhão duro
In the prison of this harsh chain, I live

Que lastima ao pé que a sofre e sente
This chain is a sorrow to those who suffer and feel it