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.
Samba Da Pergunta
Elis Regina Lyrics
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Ou então no firmamento
Em tudo que no céu viaja
Pode ser um astronauta
Ou ainda um passarinho
Ou virou um pé de vento
Ou, quem sabe
Um balãozinho
Pode estar num asteróide
Pode ser a Estrela Dalva
Que daqui se olha
Pode estar morando em Marte
Nunca mais se soube dela
Desapareceu.
The lyrics to Elis Regina's song, Samba Da Pergunta, tell the story of a lost love who is no longer physically present but exists in the singer's thoughts and imagination. The first line, "Ela agora mora só no pensamento" (She now lives only in my thoughts), sets the tone for the rest of the song. The verse then goes on to describe how this lost love might exist in the world, either in the sky or as a metaphorical entity. It's as though the singer is trying to make sense of the absence of this person by imagining where they might be and what they might be doing.
The second verse then goes on to describe some of the possibilities for where this lost love might exist, be it as an astronaut, a bird, or even a gust of wind. They might be a fragile paper kite or a colorful balloon, drifting along aimlessly. The mention of a specific star, Estrela Dalva, adds a touch of poignancy to the song, as it suggests that the lost love is something to be admired from afar, but never fully reached or grasped. The final line, "Desapareceu" (She disappeared), brings the song full circle, highlighting the pain of loss and the struggle to come to terms with it.
Overall, Samba Da Pergunta is a bittersweet and introspective song, exploring themes of love, loss, and memory. The lyrics are simple yet evocative, painting a vivid picture of a love that is no longer present but still haunts the singer's thoughts and dreams.
Line by Line Meaning
Ela agora mora só no pensamento
She now resides only in thoughts
Ou então no firmamento
Or maybe in the firmament
Em tudo que no céu viaja
In everything that travels the sky
Pode ser um astronauta
She could be an astronaut
Ou ainda um passarinho
Or even a little bird
Ou virou um pé de vento
Or transformed into a gust of wind
Pipa de papel de seda
A paper kite
Ou, quem sabe
Or maybe
Um balãozinho
A little balloon
Pode estar num asteróide
She may be on an asteroid
Pode ser a Estrela Dalva
She could be the Morning Star
Que daqui se olha
That we look at from here
Pode estar morando em Marte
She may be living on Mars
Nunca mais se soube dela
Never heard from her again
Desapareceu.
She vanished.
Writer(s): Carlos Pingarilho, Marcos Vasconcellos
Contributed by Leah B. Suggest a correction in the comments below.