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Cristina Branco was born in December, 1972, in Almeirim, Ribatejo, Portugal, where she still lives. Her music is deeply rooted in tradition, yet essentially modern.
She grew up far from the fado houses of Lisbon and nothing suggested that she was predestined for the fado. Like almost all young Portuguese born after the revolution of 1974, she was interested in folk music, jazz, blues, bossa nova but not in fado. She regarded it as a genre for a different generation. Read Full BioCristina Branco was born in December, 1972, in Almeirim, Ribatejo, Portugal, where she still lives. Her music is deeply rooted in tradition, yet essentially modern.
She grew up far from the fado houses of Lisbon and nothing suggested that she was predestined for the fado. Like almost all young Portuguese born after the revolution of 1974, she was interested in folk music, jazz, blues, bossa nova but not in fado. She regarded it as a genre for a different generation. This lasted until her 18th birthday, when her grandfather gave her the album Rara e Inédita by Amália Rodrigues. Suddenly, Cristina Branco discovered all the emotions that the genre could offer in the close connections that arose among voice, poetry and music. The amateur singer - then studying communication sciences and still full of her ambition to become a journalist - began to develop her vocal technique and to take her new vocation seriously.
After that, Cristina studied the poems from which major fado lyrics are taken.
Since then, Cristina has worked on her fado repertory, accompanied by Custódio Castelo on guitar and as composer.
Halfway through the nineties, other young musicians also found a new means of expression in the fado and this contributed to a surprising renaissance. Just as they did, Cristina Branco began to make clear choices in which respect for the tradition went hand in hand with the desire for renewal.
There can be no doubt that Cristina Branco is developing her own style from a number of primary components. She employs a traditional group (voice, Portuguese guitar, guitar and bass guitar) and offers us concurrently a light, warm and experienced voice; she mixes the traditional fado with themes and folk songs that are personal favourites and seems always to choose the words of the best Portuguese, or even Dutch poets with discretion.
She grew up far from the fado houses of Lisbon and nothing suggested that she was predestined for the fado. Like almost all young Portuguese born after the revolution of 1974, she was interested in folk music, jazz, blues, bossa nova but not in fado. She regarded it as a genre for a different generation. Read Full BioCristina Branco was born in December, 1972, in Almeirim, Ribatejo, Portugal, where she still lives. Her music is deeply rooted in tradition, yet essentially modern.
She grew up far from the fado houses of Lisbon and nothing suggested that she was predestined for the fado. Like almost all young Portuguese born after the revolution of 1974, she was interested in folk music, jazz, blues, bossa nova but not in fado. She regarded it as a genre for a different generation. This lasted until her 18th birthday, when her grandfather gave her the album Rara e Inédita by Amália Rodrigues. Suddenly, Cristina Branco discovered all the emotions that the genre could offer in the close connections that arose among voice, poetry and music. The amateur singer - then studying communication sciences and still full of her ambition to become a journalist - began to develop her vocal technique and to take her new vocation seriously.
After that, Cristina studied the poems from which major fado lyrics are taken.
Since then, Cristina has worked on her fado repertory, accompanied by Custódio Castelo on guitar and as composer.
Halfway through the nineties, other young musicians also found a new means of expression in the fado and this contributed to a surprising renaissance. Just as they did, Cristina Branco began to make clear choices in which respect for the tradition went hand in hand with the desire for renewal.
There can be no doubt that Cristina Branco is developing her own style from a number of primary components. She employs a traditional group (voice, Portuguese guitar, guitar and bass guitar) and offers us concurrently a light, warm and experienced voice; she mixes the traditional fado with themes and folk songs that are personal favourites and seems always to choose the words of the best Portuguese, or even Dutch poets with discretion.
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Avenida De Angola
by Cristina Branco
Num botão de branco punho
Num braço de fora preto
Vou pedir contas ao mundo
Além naquele coreto (2x)
Lá vai uma lá vão duas
Três pombas a descansar
Uma é minha outra é tua
Outra é de quem a agarrar
Na sala há cinco meninas
E um botão de sardinheira
Feita de fruta madura
Nos braços duma rameira (2x)
Lá vai uma lá vão duas...
O Sol é quem fez a cura
Com alfinete de dama
Na sala há cinco meninas
Feitas duma capulana
Lá vai uma lá vão duas...
Quando a noite se avizinha
Do outro lado da rua
Vem Ana, vem Serafina
Vem Mariana, a mais pura
Lá vai uma lá vão duas...
Há sempre um botão de punho
Num braço de fora preto
Vou pedir contas ao mundo
Além naquele coreto (2x)
Lá vai uma lá vão duas...
Ó noite das columbinas
Leva-as na tua algibeira
Na sala há cinco meninas
Feitas da mesma maneira
Lá vai uma lá vão duas...
Contributed by Kennedy F. Suggest a correction in the comments below.
by Cristina Branco
Num botão de branco punho
Num braço de fora preto
Vou pedir contas ao mundo
Além naquele coreto (2x)
Lá vai uma lá vão duas
Três pombas a descansar
Uma é minha outra é tua
Outra é de quem a agarrar
Na sala há cinco meninas
E um botão de sardinheira
Feita de fruta madura
Nos braços duma rameira (2x)
Lá vai uma lá vão duas...
O Sol é quem fez a cura
Com alfinete de dama
Na sala há cinco meninas
Feitas duma capulana
Lá vai uma lá vão duas...
Quando a noite se avizinha
Do outro lado da rua
Vem Ana, vem Serafina
Vem Mariana, a mais pura
Lá vai uma lá vão duas...
Há sempre um botão de punho
Num braço de fora preto
Vou pedir contas ao mundo
Além naquele coreto (2x)
Lá vai uma lá vão duas...
Ó noite das columbinas
Leva-as na tua algibeira
Na sala há cinco meninas
Feitas da mesma maneira
Lá vai uma lá vão duas...
Contributed by Kennedy F. Suggest a correction in the comments below.
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