Cristina Branco, Miriam: We need your help!
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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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Miriam
by Cristina Branco
Quem te visse aprumadinha
Camisa, calça de ganga
Colarzinho de missanga
E quase sempre sozinha
Mas chegando a madrugada
Montavas a bicicleta
De t-shirt e calça preta
E grande capa doirada
Uma argola na orelha
E uma mochila vermelha
Quem havia de dizer
O que andavas a fazer
Ai Miriam
Quem te visse
A passear no Chiado
Com um ar muito aprumado
De repente tão reguila
E o que era mais estranho
É que essa tua mochila
Parecia sem tamanho
Lá cabia o que tiravas
De toda a parte onde andavas
Sem que ninguém te apanhasse
E sem que ninguém te visse
Qual Robin que se inspirasse
Nas aventuras de Alice
Quem havia de dizer
O que tu ias trazer
Ai Miriam
Quem te visse
De dia, uma boa menina
E à noite super-heroína
As coisas que tu trazias!
Um grande queijo da serra
Um dicionário, um colchão
Um bom pedaço de terra
Um comboio, um avião
Estacionamento sem multa
Um posto de gasolina
Um bilhete pró Teatro
Umas férias em Berlim
Uma casa e um jardim
Um alvará e um contrato
Um bife, uma sopa quente
Uma visita a Foz Coa
Uns patins, uma meloa
O Expresso do Oriente
Até ao raiar da aurora
Como se fosse um festim
Que nunca mais tinha fim
Como se todos os dias
Tudo fosse sempre assim
E muito mais…muito mais…
As coisas essenciais
P'ra se poder escolher
A vida que se quer ter
E de toda a parte vêm
Os que nunca nada têm
Fazer um grande festim
Com tudo o que tu trazias
Como se todos os dias
Tudo fosse sempre assim
Quem é que pode saber
O que vai acontecer
Ai Miriam
Quem te visse
Se muitos fossem capazes
De fazer o que tu fazes.
Contributed by Caroline C. Suggest a correction in the comments below.
by Cristina Branco
Quem te visse aprumadinha
Camisa, calça de ganga
Colarzinho de missanga
E quase sempre sozinha
Mas chegando a madrugada
Montavas a bicicleta
De t-shirt e calça preta
E grande capa doirada
Uma argola na orelha
E uma mochila vermelha
Quem havia de dizer
O que andavas a fazer
Ai Miriam
Quem te visse
A passear no Chiado
Com um ar muito aprumado
De repente tão reguila
E o que era mais estranho
É que essa tua mochila
Parecia sem tamanho
Lá cabia o que tiravas
De toda a parte onde andavas
Sem que ninguém te apanhasse
E sem que ninguém te visse
Qual Robin que se inspirasse
Nas aventuras de Alice
Quem havia de dizer
O que tu ias trazer
Ai Miriam
Quem te visse
De dia, uma boa menina
E à noite super-heroína
As coisas que tu trazias!
Um grande queijo da serra
Um dicionário, um colchão
Um bom pedaço de terra
Um comboio, um avião
Estacionamento sem multa
Um posto de gasolina
Um bilhete pró Teatro
Umas férias em Berlim
Uma casa e um jardim
Um alvará e um contrato
Um bife, uma sopa quente
Uma visita a Foz Coa
Uns patins, uma meloa
O Expresso do Oriente
Até ao raiar da aurora
Como se fosse um festim
Que nunca mais tinha fim
Como se todos os dias
Tudo fosse sempre assim
E muito mais…muito mais…
As coisas essenciais
P'ra se poder escolher
A vida que se quer ter
E de toda a parte vêm
Os que nunca nada têm
Fazer um grande festim
Com tudo o que tu trazias
Como se todos os dias
Tudo fosse sempre assim
Quem é que pode saber
O que vai acontecer
Ai Miriam
Quem te visse
Se muitos fossem capazes
De fazer o que tu fazes.
Contributed by Caroline C. Suggest a correction in the comments below.
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