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.
La La La
Amália Rodrigues Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Y al sol que día a día
Me trae nueva inquietud todo en la vida es
Como una canción te cantan cuando naces
Y también en el adiós la la la la
Le canto a mi madre que dió vida a mi ser
Le canto a la tierra que me ha visto crecer
Andando por la vida aprendí esta canción
La la la la
"La La La" is a song by Amália Rodrigues that speaks to the unpredictability of life and the importance of resilience. In the opening lines, Rodrigues sings about feeling low and asks that others don't withhold their affection because even the heaviest weights must eventually come down. She uses the metaphor of a water wheel, saying that when it weeps it is not always on top. The chorus emphasizes the uncertainty of life and fate: "Who knows when luck is good or bad / Who knows what tomorrow will bring / A good and honorable life can be quickly undone / No one knows why a person is born."
The song emphasizes the importance of being strong and unafraid, even in the face of adversity. Rodrigues notes that fate cannot be escaped and encourages listeners to accept their destiny, no matter what it may be. She uses another metaphor, comparing fate to death, as something that always arrives, whether sooner or later. She concludes by saying that some people are born with a great destiny to fulfill, even if they start out small.
Overall, "La La La" is a poignant song about the fragility of life and the necessity of courage in the face of fate. Its themes are timeless and universal, as everyone grapples with these questions at some point in their lives.
Line by Line Meaning
Lá porque ando em baixo agora
Just because I'm feeling down now
Não me neguem vossa estima
Don't deny me your esteem
Que os alcatruzes da nora
Like the buckets of the well
Quando chora
When they cry
Não andam sempre por cima
They don't always come out on top
Rir da gente ninguém pode
No one can laugh at us
Se o azar nos amofina
If bad luck bothers us
Pois se Deus não nos acode
Because if God doesn't help us
Não há roda que mais rode
There's no wheel that spins more
Do que a roda da má sina.
Than the wheel of bad fate.
Sabe-se lá
Who knows
Quando a sorte é boa ou má
When luck is good or bad
Sabe-se lá
Who knows
Amanhã o que virá
What tomorrow will bring
Breve desfaz-se
A good and honest life can quickly unravel
Uma vida honrada e boa
No one knows when they are born
Ninguém sabe quando nasce
A good and honest life can quickly unravel
P'ró que nasce uma pessoa.
For what purpose a person is born
O preciso é ser-se forte
The important thing is to be strong
Ser-se forte e não ter medo
To be strong and not be afraid
Porque na verdade a sorte
Because in truth, luck
Como a morte
Like death
Chega sempre tarde ou cedo
Arrives always late or early
Ninguém foge ao seu destino
No one can run away from their destiny
Nem para o que está guardado
Nor for what is reserved for us
Pois por um condão divino
Because by divine gift
Há quem nasça pequenino
There are those who are born small
Pr'a cumprir um grande fado.
To fulfill a great destiny.
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
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ÉSTA ES UNA CANCIÓN QUE DESPIERTA LOS SENTIMIENTOS. BUENA VOZ DE AMALIA RODRIGUES. (PORTUGAL). QUE DESCANSE EN PAZ AMALIA RODRIGUES. SOY ESPAÑOL Y TENGO 62 AÑOS. NUNCA LA VI ACTUAR PERO LA OÍ EN UN INTERVENCIÓN EN LA CORUÑA.
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