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.
Triste
Elis Regina Lyrics
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Na dor cruel de uma paixão
Triste é saber que ninguém
Pode viver de ilusão
Que nunca vai ser, nunca vai dar
O sonhador tem que acordar
Tua beleza é um avião
Demais pra um pobre coração
Só pra me maltratar
Triste é viver na solidão
Triste é viver na solidão
Na dor cruel de uma paixão
Triste é saber que ninguém
Pode viver de ilusão
Que nunca vai ser, nunca vai dar
O sonhador tem que acordar
Tua beleza é um avião
Demais pra um pobre coração
Que para pra te ver passar
Só pra me maltratar
Triste é viver na solidão
Elis Regina's song "Triste" is a melancholic composition that speaks about the detrimental effects of living in solitude and the pain that is inflicted by the unrequited desire for affection. The lyrics bring forth the feeling of sadness as the singer highlights the cruel pain of a love that is not reciprocated. The sorrowful feeling is captured in the lines "triste é viver na solidão, na dor cruel de uma paixão," which translate to "sad is living in loneliness, in the cruel pain of passion." The singer laments that it is sad to know that one cannot live in illusion, that one cannot deceive oneself into believing that love would come just by wishing for it. The line, "Que nunca vai ser, nunca vai dar," which means "it will never be, it will never work," serves as a reminder that one has to eventually face reality and wake up from the dream-like state.
The lyrics also make reference to the singer's admiration for someone who she finds stunningly beautiful, someone who is beyond the reach of her love. The line, "Tua beleza é um avião, demais prum pobre coração," which translates to "your beauty is like an airplane, too much for a poor heart," shows that the singer feels inferior when compared to the object of her affection. The person's beauty is so exceptional that it appears unattainable to her. The singer admits that she stops to look at this person whenever they pass by, but it only hurts her more. The lines "só pra me maltratar, triste é viver na solidão," which mean "just to hurt me, sad is living in loneliness," depict the emotional pain that the singer feels.
Line by Line Meaning
Triste é viver na solidão
It's sad to live in loneliness and solitude
Na dor cruel de uma paixão
To suffer from the cruel agony of love
Triste é saber que ninguém
It's saddening to know that nobody
Pode viver de ilusão
Can live on illusions
Que nunca vai ser, nunca vai dar
That it will never be, it will never happen
O sonhador tem que acordar
The dreamer has to wake up
Tua beleza é um avião
Your beauty is like an airplane
Demais prum pobre coração
Too much for a poor heart
Que pára pra te ver passar
That stops to watch you pass by
Só pra me maltratar
Just to mistreat me
Lyrics © CORCOVADO MUSIC CORPORATION, Tratore
Written by: A. C. Jobim
Lyrics Licensed & Provided by LyricFind