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.
Lisboa Menina e Moça
Carlos do Carmo Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Em Alfama descanso o olhar
E assim desfaço o novelo de azul e mar
Á Ribeira encosto a cabeça
Almofada da cama do Tejo
Com lençóis bordados à pressa na cambraia dum beijo
Lisboa menina e moça menina
Teus seios são as colinas varina
Pregão que me traz à porta ternura
Cidade a ponto-luz bordada
Toalha á beira-mar estendida
Lisboa menina e moça amada
Cidade mulher da minha vida
No Terreiro eu passo por ti
Mas na Graça eu vejo-te nua
Quando um pombo te olha, sorri, és mulher da rua
E no bairro mais alto do sonho
Ponho um fado que soube inventar
Aguardente de vida e medronho, que me faz cantar
Lisboa menina e moça menina
Da luz que os meus olhos vêm tão pura
Teus seios são as colinas varina
Pregão que me traz à porta ternura
Cidade a ponto-luz bordada
Toalha á beira-mar estendida
Lisboa menina e moça amada
Cidade mulher da minha vida
Lisboa no meu amor deitada
Cidade por minhas mãos despida
Lisboa menina e moça amada
Cidade mulher da minha vida
The lyrics to Carlos do Carmo's song "Lisboa Menina E Moça" reflect a deep love and appreciation for the city of Lisbon, Portugal. The first verse describes the poet's habit of resting his elbow on a castle, looking out over the blue sea and untangling his thoughts. He then rests his head on the riverbank, using the river as his pillow, covered in embroidered sheets that are a result of passionate love. The second verse describes the poet's admiration for the city's beauty and how it inspires him. He describes the city as a fabric, woven with points of light, stretched out like a towel by the sea. The poet's love becomes all-encompassing, as he declares Lisbon to be his city, his woman, and the love of his life.
The song is a tribute to Lisbon, a city that is often referred to as the "City of Lights". The lyrics celebrate the city's natural beauty and its people. The song recognizes Lisbon's unique culture, seen in the fado music that originates from the city. Through the lyrics, the poet seems to be expressing his deep personal connection to the city and how it has shaped him. This song has become an anthem for Lisbon and is deeply ingrained in Portuguese culture.
Line by Line Meaning
No Castelo ponho um cotovelo
I rest my elbow on the Castle, taking in its beauty and history
Em Alfama descanso o olhar
I relax my gaze on Alfama's picturesque scenery
E assim desfaço o novelo de azul e mar
I unravel the beautiful views of the blue ocean and sky
Á Ribeira encosto a cabeça
I place my head against the Riverside, it's my comfort
Almofada da cama do Tejo
It's the bed's pillow by the river of Tejo
Com lençóis bordados à pressa na cambraia dum beijo
The bed sheet was embroidered with a passionate kiss on the delicate fabric
Lisboa menina e moça menina
Lisbon, a young and beautiful girl
Da luz que os meus olhos vêm tão pura
The light that my eyes see so purely
Teus seios são as colinas varina
Your hills are the breasts of the fishmongers' women
Pregão que me traz à porta ternura
Their traditional fish market calls bring me tenderness and nostalgia
Cidade a ponto-luz bordada
The city with embroidered points of light
Toalha á beira-mar estendida
A towel, spread out by the seaside
Lisboa menina e moça amada
Lisbon, beloved young girl
Cidade mulher da minha vida
The city, the woman of my life
No Terreiro eu passo por ti
I walk by you at Terreiro
Mas na Graça eu vejo-te nua
But in Graça, I see the raw beauty of you
Quando um pombo te olha, sorri, és mulher da rua
When a pigeon looks at you and smiles, you're the soul of the street
E no bairro mais alto do sonho
In the highest district of my dreams
Ponho um fado que soube inventar
I play a fado that I invented
Aguardente de vida e medronho, que me faz cantar
A spirit of life and medronho that makes me sing
Lisboa no meu amor deitada
Lisbon, lying in my love
Cidade por minhas mãos despida
The city, undressed by my hands
Lisboa menina e moça amada
Lisbon, beloved young girl
Cidade mulher da minha vida
The city, the woman of my life
Lyrics © Peermusic Publishing
Written by: Jose Carlos Pereira Ary Dos Santos, Fernando Travassos Tordo, Joaquim Maria Pessoa, Manuel Paulo De Carvalho Costa
Lyrics Licensed & Provided by LyricFind
@lcpize
O Carlos do Carmo faz parte dum grupo de intelectuais (intelectuais sem desprimor), que se movimenta maravilhosamente no mundo da música portuguesa e não só.
O Fado é um estilo musical que se distribui pelos mais variados registos, que vão da tristeza ao humor; assim, há fados que podem ser acompanhados a palmas e outros não, como alguns geram gargalhadas e outros induzem-nos ao recolhimento, às lágrimas.
Reforço a ideia, dizendo que: enquanto a Amália Rodrigues foi e é, o expoente máximo do ''Fado Cantado'', o Carlos do Carmo é um príncipe na arte do ''Fado Dito'': um ''diseur'', em suma.
Neste aspecto particular e, atendendo à vontade de quem dá voz no palco e ainda, em última instância, ao cantador assiste-lhe o direito de ''consciencializar'' a plateia que o fado em questão, sendo uma homenagem materializada com uma letra de excelente poesia à cidade de Lisboa, não é conveniente que se subtraia a qualidade da mesma com palmas de acompanhamento.
Fugindo à questão - ou talvez não - claro que existe uma certa classe burguesa que não tolera o ''Carlos Comunista''.
Não sendo eu um apologista de tal ideologia, esforço-me por separar e respeitar os pontos de vista político/sociais das qualidade artísticas e humanas da individualidade em apreço.
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@jorgemartins7464
Não morreu! Apenas deixou de estar "entre nós"! A sua voz e o que cantou ficarão!
@herculesrozo
Verdade... morre o homem fica o legado 🙏
@rutepinheiro4633
Vdd,estará sempre no nosso coração
@eutu8238
@@herculesrozo n
@goncaloreis_10
sou muito bom a cantar fado
amo carlos docarmo
@morissette83
O Carlos do Carmo a mostrar quem manda! Comentario muito bem metido. Fado é para se escutar, cantar e sentir. Bravo!
@luisbvg
então nunca vás a concertos da Ana Moura
@morissette83
Luis bvg Acho que estão a vulgarizar o fado... é apenas o meu gosto tradicionalista. gostos não se discutem. :)
@MariaRodrigues-er1by
tal como diz o Desfado da Ana Moura o que ela canta não é bem fado
@luisbvg
Eu já vi concertos da Ana Moura. Ela própria diz que o fado não tem de ser triste