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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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Post Scriptum
by Cristina Branco
Afasto de ti, com raiva surda
O corpo, as mãos, o pensamento
E apago, secreta, uma a uma
As velas acesas do teu vento
Liberta, ponho o corpo em seu lugar
Visto a cidade, penteio um rio sedento
Penso que ganho e fujo, e não entendo
Penso que durmo, mas não consigo tempo
E cede-se o vazio sobre o meu ventre
E segue-se a saudade em seu sustento
E digo este meu vício dos teus olhos
De um verde tão lento, muito lento
Se penso que te deixo, já te quero
Se pensas que recuso, já te anseio
Se penso que te odeio, já te espero
E torno a oferecer-te o que receio
Se penso que me calo, já te grito
Se penso que me escondo, já me ofereço
Se penso que não sinto, é porque minto
E digo este meu vício dos teus olhos
Se penso que me olhas, eu estremeço
Contributed by Kennedy D. Suggest a correction in the comments below.
by Cristina Branco
Afasto de ti, com raiva surda
O corpo, as mãos, o pensamento
E apago, secreta, uma a uma
As velas acesas do teu vento
Liberta, ponho o corpo em seu lugar
Visto a cidade, penteio um rio sedento
Penso que ganho e fujo, e não entendo
Penso que durmo, mas não consigo tempo
E cede-se o vazio sobre o meu ventre
E segue-se a saudade em seu sustento
E digo este meu vício dos teus olhos
De um verde tão lento, muito lento
Se penso que te deixo, já te quero
Se pensas que recuso, já te anseio
Se penso que te odeio, já te espero
E torno a oferecer-te o que receio
Se penso que me calo, já te grito
Se penso que me escondo, já me ofereço
Se penso que não sinto, é porque minto
E digo este meu vício dos teus olhos
Se penso que me olhas, eu estremeço
Contributed by Kennedy D. Suggest a correction in the comments below.
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