He was the son of Lucília do Carmo (one of the greatest fadistas of the 20th century) and Alfredo de Almeida, (bookseller and later entrepreneur in the hotel business). His parents were also the owners of the famous Lisbon restaurant "O Faia". One might say that Carlos do Carmo was raised in an artistic atmosphere. His parents' house in the old part of the city, Bairro Alto, was a place where intelectuals and artists gathered, some of the more prominent figures of Lisbon society at that time. He studied the hotel business in Switzerland. In 1964, Carlos do Carmo began one of the most solid careers in the artistic panorama of Portugal...
When he returned to Lisbon from Switzerland he entered the hotel business with his parents, and took the reigns of "Casa de Fado" which they had founded, using all of the ideas and techniques that he learned in Switzerland. After the death of his father, Carlos do Carmo became the owner, and thanks to his merits and good luck, made "Casa de Fado" the best in Lisbon. But music was ever present in him, and he recorded one of his mother's songs, "Loucura", at the request of Mário Simões almost on a lark. The success of this experience was so great that the destiny of Carlos do Carmo could not possibly be delayed a minute more. The opportunity to record his first album came quickly, and in 1964 he recorded " Estranha Forma de Vida". His way of singing was different, his personal style unmistakable, he was the one that fado was waiting for to carry on the tradition, and there was a certainty that a new star had been born. From that moment on, success was part of his life, each and every fado that he sang, every album he recorded, every performance he gave, corresponded with yet another hit. All of his albums up to the present day have been cherished and the sales of his television performances are now part of fado history, recognized for their high quality, and for the inovative spirit that each one transmits. "Por morrer uma andorinha", "Duas lágrimas de orvalho", "Bairro Alto", "Gaivota",
"Canoas do Tejo", "Os Putos", "Lisboa Menina e Moça" e "Estrela da Tarde", are some of the biggest hits of his career. Because of a desire to maintain a purely artistic career for such a long time, his artistic references include quite diverse artists as Frank Sinatra, Jaques Brel, Elis Regina and José Afonso. The international circulation of his work was driven, as he always likes to affirm, "By those Portuguese who leave my country in search of a better life, and who have passed my works in to the hands of entrepreneurs and cultural agents of the various countries where they reside".
He has sung on 5 continents, his performances at the "Olympia" in paris, the opera houses of Frankfurt and Wiesbaden, the Canecão in Rio de Janeiro, the "Savoy" in Helsinki, the Auditório Nacional in madrid, the Teatro da Rainha in Haia, the theater of Saint Petersburgh, the "Place des Arts" in Montreal, the Tivoli in Copenhagen, and the Memorial da América latina in São Paulo are some of the finest moments of his career. His performances throughout Portugal at the Mosteiro dos
Jerónimos, the Fundação Gulbenkian, the Coliseu dos Recreios, the Casino do Estoril,
and at the Centro Cultural de Belém make a difference in the cultural level of the country.
The number of honours and awards he has received to this day are innumerable, from being named an honorary citizen of the city of Rio De Janeiro, member of the honor of Claustro Ibero-Americano das Artes, to the diploma accorded him by the senate of Rhode Island in the U.S. for his contribution to the propagation of Portuguese music, to the golden globe. He also figures as a pioneer in the new Portuguese discography, due to his album "Um Homem no País", the first cd to be edited by an artist in Portugal.
Carlos do Carmo knows the importance of family life, he's been married since 1964 having 3 children, as fruit of this union, one daughter and 2 sons, who maintain a close relationship with him. It's not always easy to juggle life as a family man with the life of a world traveling artist. He persues the realization of this dream, because he considers the union of family to be important. He considers himself the first link in a chain of individual connections. He values being with friends, and enjoys making new friends, maintaining an high level of quality in his artistic life.
Carlos do Carmo is an artist who has certainly already attained some of his goals, aiming for a public who holds him in high esteem, great respect, apreciating in him not only his qualities as a musician, but also those of an artist interested in the evolution of the music of his homeland, and who believes in the evolution of man as a creature who can embrace the whole world in it's diversity.
Aprendamos o Rito
Carlos do Carmo Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Traz as rosas mais frescas do jardim
Deita o vinho no copo, corta o pão
Com a faca de prata e de marfim
Alguém veio sentar-se à tua mesa
Alguém a quem não vês, mas que pressentes
Cruza as mãos no regaço... não perguntes
Prova depois o vinho, come o pão
Rasga a palma da mão no caule agudo
Leva as rosas à fronte, cobre os olhos
Cumpriste o ritual e sabes tudo
In Carlos do Carmo's song "Aprendamos o Rito," the lyrics depict the setting of a table for an unknown guest with fresh roses, silver and ivory utensils, and wine and bread. The singer then advises to refrain from asking too many questions and to simply perform the ritual by tasting the wine, breaking the bread, and placing roses on the forehead.
On a literal level, the song portrays the preparation for a meal, but it also employs metaphors to convey a deeper meaning. The unknown guest could represent the singer's conscience, their inner voice, or even a spiritual entity. The act of setting the table and performing the ritual could signify a sense of openness and willingness to reflect and confront personal truths, symbolized by the act of tasting wine and breaking bread.
In essence, the message the song conveys is that sometimes we need to allow ourselves to be vulnerable and confront difficult truths, even if the answers may be uncomfortable. The ritual serves as a reminder to not shy away from self-reflection but instead embrace it, leading to a better understanding of oneself and one's place in the world.
Line by Line Meaning
Pôe na mesa a toalha adamascada
Spread the fancy tablecloth onto the table
Traz as rosas mais frescas do jardim
Bring the freshest roses from the garden
Deita o vinho no copo, corta o pão
Pour some wine into the glass and slice the bread
Com a faca de prata e de marfim
Use the silver and ivory knife to cut the bread
Alguém veio sentar-se à tua mesa
Someone came to sit at your table
Alguém a quem não vês, mas que pressentes
Someone you can't see but you sense their presence
Cruza as mãos no regaço... não perguntes
Cross your hands on your lap... don't ask questions
Nas perguntas que fazes é que mentes
You lie in the questions you ask
Prova depois o vinho, come o pão
Taste the wine, eat the bread
Rasga a palma da mão no caule agudo
Cut your palm on the sharp stem
Leva as rosas à fronte, cobre os olhos
Bring the roses to your forehead, cover your eyes
Cumpriste o ritual e sabes tudo
You performed the ritual and now you know everything
Contributed by Max M. Suggest a correction in the comments below.