Asa branca
Elis Regina Lyrics
Quando olhei a terra ardendo qual fogueira de S�o Jo�o
Eu perguntei a Deus do c�u por que tamanha judia��o
Eu perguntei a Deus do c�u por que tamanha judia��o
Que braseiro, que fornalha, nenhum p� de planta��o
Por falta d'�gua perdi meu gado, morreu de sede meu alaz�o
Por falta d'�gua perdi meu gado, morreu de sede meu alaz�o
Int� mesmo a Asa Branca bateu asas do sert�o
Entonce eu disse: adeus Rosinha, guarda contigo meu cora��o
Hoje longe muitas l�guas nessa triste solid�o
Espero a chuva cair de novo pra eu voltar pro meu sert�o
Espero a chuva cair de novo pra eu voltar pro meu sert�o
Quando o verde dos teus olhos se espai� na planta��o
Eu te asseguro, n�o chores n�o, viu, que eu voltarei, viu, meu cora��o
Eu te asseguro, n�o chores n�o, viu, que eu voltarei, viu, meu cora��o
Contributed by Colin J. Suggest a correction in the comments below.
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Elis Regina Carvalho Costa (March 17, 1945, Porto Alegre, Rio Grande do Sul, Brazil – January 19, 1982, São Paulo, Brazil), better known as Elis Regina, was a Brazilian singer and one of the biggest names of MPB. Known for her vocal competence, musicianship and stage presence, she was acclaimed both in Brazil and internationally.
In the '60s, Elis was a leader and a standard-bearer in defense of Brazilian popular music, heavily contributing to the formation of the MPB label, with commercial and ideological characteristics at the same time. Read Full BioElis Regina Carvalho Costa (March 17, 1945, Porto Alegre, Rio Grande do Sul, Brazil – January 19, 1982, São Paulo, Brazil), better known as Elis Regina, was a Brazilian singer and one of the biggest names of MPB. Known for her vocal competence, musicianship and stage presence, she was acclaimed both in Brazil and internationally.
In the '60s, Elis was a leader and a standard-bearer in defense of Brazilian popular music, heavily contributing to the formation of the MPB label, with commercial and ideological characteristics at the same time. She was the first major artist to emerge from music festivals in the 1960s and detached herself from the Bossa Nova aesthetic through the use of her vocal range and drama. Initially, her style was influenced by radio singers, especially Ângela Maria. After four unsuccessful studio albums — Viva a Brotolândia (1961), Poema de Amor (1962), Elis Regina (1963), O Bem do Amor (1963) — Elis was the biggest revelation of the TV Excelsior festival in 1965, when he sang "Arrastão" by Vinícius de Moraes and Edu Lobo. This feat would guarantee him the invitation to act on television and, shortly afterwards, the title of first star of Brazilian popular song, when he started to command, alongside Jair Rodrigues, one of the two most important Brazilian popular music programs, O Fino da bossa. In 1967, she married Ronaldo Bôscoli, then director of O Fino da Bossa. From 1972, Elis began a relationship with César Camargo Mariano, which would last until 1981, in one of the most successful partnerships in Brazilian Popular Music.
She sang many genres: MPB, bossa nova, samba, rock and jazz. Interpreting songs like "Madalena", "Águas de Março", "Atrás da Porta", "Como Nosso Pais", "O Bêbado e a Equilibrista" and "Querellas do Brasil", he recorded moments of happiness, love, sadness and patriotism. Throughout his career, he stood out for also singing songs by artists, still little known, such as Milton Nascimento, Ivan Lins, Belchior, Renato Teixeira, Aldir Blanc, João Bosco, helping to launch them and publicize their works. , boosting them in the Brazilian music scene. Among other partnerships, the duets she had with Jair Rodrigues, Tom Jobim and Rita Lee are famous. With her second husband, pianist César Camargo Mariano, she consecrated a long work of great creativity and musical consistency and, in technical terms, was considered the best brazilian singer. His most memorable artistic presence is perhaps registered on the albums Em Pleno Verão (1970), Elis (1972), Elis (1973), Elis & Tom (1974), Elis (1974), Falso Brilhante (1976), Transversal do Tempo (1978). ), Essa Mulher (1979), Saudade do Brasil (1980) and Elis (1980). She was the first person to inscribe her own voice as if it were an instrument, in the Order of Musicians of Brazil. In 2013, she was elected the best female voice in Brazilian music by Rolling Stone Magazine. Elis was also mentioned in the list of the greatest artists in Brazilian music, ranking 14th, being the best-placed woman. In November of the same year, a musical was premiered in honor of her Elis, the musical.
Elis Regina died prematurely at the age of 36, at the height of her career, causing strong commotion in the country and leaving a vast body of work in Brazilian popular music. Although there were controversies and disputes as to the cause of death, the tests showed that the cause was the consumption of cocaine associated with alcohol, which caused a cardiac arrest.
In the '60s, Elis was a leader and a standard-bearer in defense of Brazilian popular music, heavily contributing to the formation of the MPB label, with commercial and ideological characteristics at the same time. Read Full BioElis Regina Carvalho Costa (March 17, 1945, Porto Alegre, Rio Grande do Sul, Brazil – January 19, 1982, São Paulo, Brazil), better known as Elis Regina, was a Brazilian singer and one of the biggest names of MPB. Known for her vocal competence, musicianship and stage presence, she was acclaimed both in Brazil and internationally.
In the '60s, Elis was a leader and a standard-bearer in defense of Brazilian popular music, heavily contributing to the formation of the MPB label, with commercial and ideological characteristics at the same time. She was the first major artist to emerge from music festivals in the 1960s and detached herself from the Bossa Nova aesthetic through the use of her vocal range and drama. Initially, her style was influenced by radio singers, especially Ângela Maria. After four unsuccessful studio albums — Viva a Brotolândia (1961), Poema de Amor (1962), Elis Regina (1963), O Bem do Amor (1963) — Elis was the biggest revelation of the TV Excelsior festival in 1965, when he sang "Arrastão" by Vinícius de Moraes and Edu Lobo. This feat would guarantee him the invitation to act on television and, shortly afterwards, the title of first star of Brazilian popular song, when he started to command, alongside Jair Rodrigues, one of the two most important Brazilian popular music programs, O Fino da bossa. In 1967, she married Ronaldo Bôscoli, then director of O Fino da Bossa. From 1972, Elis began a relationship with César Camargo Mariano, which would last until 1981, in one of the most successful partnerships in Brazilian Popular Music.
She sang many genres: MPB, bossa nova, samba, rock and jazz. Interpreting songs like "Madalena", "Águas de Março", "Atrás da Porta", "Como Nosso Pais", "O Bêbado e a Equilibrista" and "Querellas do Brasil", he recorded moments of happiness, love, sadness and patriotism. Throughout his career, he stood out for also singing songs by artists, still little known, such as Milton Nascimento, Ivan Lins, Belchior, Renato Teixeira, Aldir Blanc, João Bosco, helping to launch them and publicize their works. , boosting them in the Brazilian music scene. Among other partnerships, the duets she had with Jair Rodrigues, Tom Jobim and Rita Lee are famous. With her second husband, pianist César Camargo Mariano, she consecrated a long work of great creativity and musical consistency and, in technical terms, was considered the best brazilian singer. His most memorable artistic presence is perhaps registered on the albums Em Pleno Verão (1970), Elis (1972), Elis (1973), Elis & Tom (1974), Elis (1974), Falso Brilhante (1976), Transversal do Tempo (1978). ), Essa Mulher (1979), Saudade do Brasil (1980) and Elis (1980). She was the first person to inscribe her own voice as if it were an instrument, in the Order of Musicians of Brazil. In 2013, she was elected the best female voice in Brazilian music by Rolling Stone Magazine. Elis was also mentioned in the list of the greatest artists in Brazilian music, ranking 14th, being the best-placed woman. In November of the same year, a musical was premiered in honor of her Elis, the musical.
Elis Regina died prematurely at the age of 36, at the height of her career, causing strong commotion in the country and leaving a vast body of work in Brazilian popular music. Although there were controversies and disputes as to the cause of death, the tests showed that the cause was the consumption of cocaine associated with alcohol, which caused a cardiac arrest.
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Juliana Barbosa OFICIAL
Pelo menos uma vez ao mês tenho que voltar aqui, meu coração precisa dessa emoção.
Herrneto e Elis.
Henrique Monducci
Faço a mesma coisa, kkkk.
João Gonçalves
💚❤️
cebolinha198
Elis sabia pacas de gramática: “guarde consigo” . Perfeito. Imperativo afirmativo e pronome na pessoa certa. A mulher almejava a perfeição e trabalhava para isso.
Andre Andre
Elis era perfeccionista é certo. Nesse caso se falava assim mesmo nessa época, todos os artistas que chegavam em uma gravadora com uma música passavam imediatamente por um revisor de gramática. Só quando um artista insistia muito que um regionalismo ou uma licença poética era aceita.
Juliana Pimenta
@Thiago A. Boaventura perfeita colocação
Alex Souza
Peraí, bicho.
Thiago A. Boaventura
Pra mim o entendimento de gramática normativa não é um trabalho que necessariamente se alie à perfeição. Como linguista e psicoterapeuta só posso dizer que perfeição é uma fantasia narcísica. Uma ilusão de quem tá numa visão demasiadamente uterina. De retorno a "uma era de ouro", quando tudo era "perfeito": o útero. Portanto é infantil. O que vejo aqui é um respeito à variante nordestina: no nordeste assim como em Portugal, ao utilizarem uma 2a pessoa do Discuso(com quem se fala) no entanto com um estrutura de terceira pessoa(você, vocemecê, vosmecê, vossa mercê, vossa mercedes), usa-se um imperativo de acordo com essa estrutura e os pronomes também de acordo. Portanto o pronome da terceira pessoa, consigo. Para usar contigo, preciso usar o tu. No centro sul do país usamos o imperativo da segunda embora façamos o uso de você. Fazemos um uso mais desatento em relação a isso, se comparado com como se usa no nordeste ou em portugal. Apesar de não significar nada(ser perfeito ou não ser, ser superior ou não ser) ainda assim é um mais que bem-vindo tapa na cara do centro sul, se fôssemos usar os mesmos padrões opressores para julgar o centro sul com a mesma visão preconceituosa com que nós do centro sul(pois sou de bsb) julgamos o nordeste. Ou seja: falar assim é só uma variante, não deveria estar atrelada com ser mais ou menos perfeito, mas se formos usar a própria métrica centro sulista pra isso, que o centro sul então dobrasse a língua e pensasse duas vezes antes de chamar o nordestino de ignorante.
Raul Neto
A licença poética é predominante nos artistas que, muitas vezes, sequer sabem conjugar verbos.
DUBLANDO COM HUMOR
Elis estava pisando em ovos, pois o Hermeto improvisou geral.