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.
Nem às paredes confesso
Amália Rodrigues Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Sem que eu te peça,
Nem me dês nada que ao fim
Eu não mereça
Vê se me deitas depois
Culpas no rosto
Isto é sincero
Porque não quero
De quem eu gosto
nem às paredes confesso
E até aposto
Que não gosto de ninguém
Podes sorrir
Podes mentir
Podes chorar também
De quem eu gosto
Nem às paredes confesso.
Quem sabe se te esqueci
Ou se te quero
Quem sabe até se é por ti
por quem eu espero
Se gosto ou não afinal
Isso é comigo,
Mesmo que penses
Que me convences
Nada te digo.
De quem eu gosto
nem às paredes confesso
E até aposto
Que não gosto de ninguém
Podes sorrir
Podes mentir
Podes chorar também
De quem eu gosto
Nem às paredes confesso.
The lyrics to the song "Nem às paredes confesso" by Amália Rodrigues express the singer's desire for honesty in any potential relationship. She warns against loving her without her consent or giving her anything she does not deserve. The singer suggests that if they engage in a relationship, the blame cannot be placed on her shoulders alone. She reassures her partner that her sincerity comes from a place of not wanting to hurt them.
The chorus of the song reinforces the singer's stance on keeping her feelings to herself. She claims that she does not confess her feelings even to the walls around her. She adds that she does not like anyone, implying that she may be protecting herself from potential heartbreak. The final lines of the chorus acknowledge the different emotions her partner may feel, including smiling, lying, or crying, but she will not reveal her feelings to anyone. In the second verse, the singer remains ambiguous about her feelings by noting that only she knows whether she has forgotten someone or is still waiting for them.
Overall, the lyrics to "Nem às paredes confesso" represent the singer's reluctance to reveal her emotions to anyone, even those she loves. The song conveys the importance of honesty, but also the need to protect oneself from potential hurt.
Line by Line Meaning
Não queiras gostar de mim
Sem que eu te peça,
Don't try to love me
Without my consent,
Nem me dês nada que ao fim
Eu não mereça
Don't give me anything
That I don't deserve in the end
Vê se me deitas depois
Culpas no rosto
Isto é sincero
Porque não quero
Dar-te um desgosto
Don't blame me afterwards
With a guilty face
I'm being honest
Because I don't want
To disappoint you
De quem eu gosto
nem às paredes confesso
E até aposto
Que não gosto de ninguém
Podes sorrir
Podes mentir
Podes chorar também
De quem eu gosto
Nem às paredes confesso.
I don't confess to the walls
Who I like
And I bet I don't like anyone
You can smile
You can lie
You can cry too
I don't confess to the walls
Who I like
Quem sabe se te esqueci
Ou se te quero
Quem sabe até se é por ti
por quem eu espero
Who knows if I forgot you
Or if I still want you
Who knows, maybe it's for you
That I'm waiting
Se gosto ou não afinal
Isso é comigo,
Whether I like it or not in the end
It's up to me,
Mesmo que penses
Que me convences
Nada te digo.
Even if you think
You can convince me
I won't tell you anything
Lyrics © O/B/O APRA AMCOS
Written by: Artur Ribeiro, Ferrer Trindade, Max Max
Lyrics Licensed & Provided by LyricFind
@user-ue2zq8hd9g
Caramba! que voz.....sou brasileiro mas me orgulho de sangue português e me expressar numa língua que é patrimônio mundial....obrigado Portugal
@marioribeirodeazevedoneto311
Sou do interior do Estado do Rio de Janeiro e este fado me faz lembrar de minha finada mãe que cantava, com frequência, esta música e era fã da Amália Rodrigues. Viva Portugal, viva o BRASIL !
@vitortadeurocha6599
"Nem as paredes confesso" Amalia Rodrigues será para sempre a mais bela voz de Portugal. Divina!
@adalbertomodesusa
Sou brasileiro, vivo nos EUA há 27 anos. Fluente em inglês, mas como amo minha lingua portuguesa! O Fado cantado por Amalia Rodrigues nos leva às origens de nosso lindo idioma.
@ednafranck6553
Saudades de meu primeiro namorado eu tinha 17 anos está música que marcou nossa namoro enfim saudades
@luizcarlosgomes6123
O inglês é uma LÍNGUA POBRE
@adalbertomodesusa
@@luizcarlosgomes6123 sim, e qual ė o seu ponto ?
@luizcarlosgomes6123
@@adalbertomodesusa estação SÉ do Metrô
@adalbertomodesusa
@@luizcarlosgomes6123 Banana não tem caroço, portanto não tem Sé no metrô.
@19620000
É muito linda esta mulher. A língua portuguesa é para nós brasileiros a língua mais rica da Europa!!! Portugal é muito importante para todos nós. Amália é inesquecível para o povo luso-brasileiro. Muito importante! Viva Portugal! Viva a língua portuguesa!!!Viva Portugal!!!