In 1999, she was elected by BBC Radio London as the Brazilian singer of the millennium. The choice originated from the British radio project The Millennium Concerts, created to celebrate the arrival of the year 2000. In addition, Soares appears on the list of the 100 greatest voices of Brazilian music prepared by Rolling Stone Brazil magazine.
Soares lived in extreme poverty throughout her childhood and teen, getting married at 12 and having her first child at 13. Soares had her first audition in radio at Ary Barroso's novice show when she was 16, winning first place. She was then hired as a crooner by the Orquestra Garam de Bailes (led by conductor Joaquim Naegli). She worked in the orchestra until 1954, when she became pregnant. In 1955, she was invited to star together with Grande Otelo in the play Jour-Jou-Fru-Fru, which was a smash.
Three years later, Soares toured Argentina, returning in the next year when she was hired by Rádio Vera Cruz. Also in 1959, she recorded a 78 rpm with "Se Acaso Você Chegasse" (Lupício Rodrigues/Felisberto Martins), one of her biggest hits. In 1960, she went to São Paulo where she performed regularly in the show I Festival Nacional de Bossa Nova and recorded her first LP, Se Acaso Você Chegasse.
In 1962, she represented Brazil in Chile during the World Soccer Cup, where she met Garrincha, one of the most genial soccer players ever, and also a chronic alcoholic. With Garrincha, Soares had a very troubled marriage (and the untimely demise of their son Garrinchinha in 1986 in a car accident didn't help her in any way).
The peak of her career was in the '60s, with albums like O Máximo em Samba (1967), Elza Soares & Wilson das Neves (1968), Elza, Miltinho e Samba (a three-album series shared with Miltinho). In that decade she had several hits like "Boato," "Edmundo" (a version of "In the Mood"), "Beija-me," "Devagar Com a Louça," "Mulata Assanhada," "O Mundo Encantado de Monteiro Lobato," "Bahia de Todos os Deuses," "Palmas no Portão," and "Palhaçada."
Having recorded several albums with the hits "Só Danço Samba" (Tom Jobim/Vinícius de Moraes), "A Banca do Distinto" (Billy Blanco), "Pressentimento" (Elton Medeiros/Hermínio Bello de Carvalho), and "Princesa Isabel" (Sérgio Ricardo), she moved to Italy in 1969, where she performed at the Sistina theater (Rome), returning to Brazil in 1972. In the same year, she opened the show Elza Em Dia de Graça at the Opinião theater (Rio) and participated in the Brasil Export Show (Canecão).
In the '70s, she still had success with "Salve a Mocidade" (1974), and "Malandro" (1977, this song launched Jorge Aragão as a composer). But it wasn't enough to prevent her from facing huge economical adversities and at the same time, she was being systematically turned away by recording companies.
Trying unsuccessfully to develop a career abroad, she returned to Brazil in 1994, poor and depressed. Finally, she was rediscovered in the '80s by the younger generations of Brazilian rockers (Os Titãs, Lobão) and MPB artists like Caetano Veloso
Soares was awarded a Sharp Prize award as the Best Samba Singer of 1997. In November 1999, Soares participated in the show Desde Que o Samba é Samba (at Royal Albert Hall, London, England), together with Chico Buarque, Caetano Veloso, Gilberto Gil, Gal Costa, and Virgínia Rodrigues.
In 2000, her life was depicted in the musical Crioula, which had several songs written specially for her by Chico Buarque, Chico César, Nei Lopes, and others. In 2000, she was appointed Singer of the Millennium by London's BBC. Soares continues to challenge her destiny, performing shows in every venue available.
Alvaro Neder, All Music Guide
Fadas
Elza Soares Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Inseto voa cego e sem direção
Eu bem te vi, nada
Ou fada borboleta, ou fada canção
As ilusões fartas
A fada com varinha virei condão
Rabo de pipa, olho de vidro
Devo de ir, fadas
Inseto voa cego e sem direção
Eu bem te vi, nada
Ou fada borboleta, ou fada canção
As ilusões fartas
A fada com varinha virei condão
Rabo de pipa, olho de vidro
Pra suportar uma costela de Adão
Um toque de sonhar sozinho
Te leva a qualquer direção
De flauta, remo ou moinho
De passo a passo passo
Um toque de sonhar sozinho
Te leva a qualquer direção
De flauta, remo ou moinho
De passo a passo passo
Devo de ir, fadas
Inseto voa cego e sem direção
Eu bem te vi, nada
Ou fada borboleta, ou fada canção
As ilusões fartas
A fada com varinha virei condão
Rabo de pipa, olho de vidro
Pra suportar uma costela de Adão
Um toque de sonhar sozinho
Te leva a qualquer direção
De flauta, remo ou moinho
De passo a passo passo
Um toque de sonhar sozinho
Te leva a qualquer direção
De flauta, remo ou moinho
De passo a passo passo
The lyrics of Elza Soares's song "Fadas" convey a sense of longing and uncertainty, exploring themes of flight, illusions, and the power of dreaming. The repetition of the line "Devo de ir, fadas" (I must go, fairies) suggests a feeling of obligation or a need to escape. The image of an insect flying blindly and without direction symbolizes the singer's own journey into the unknown.
The mention of a "fada borboleta" (butterfly fairy) or a "fada canção" (song fairy) suggests the possibility of transformation or finding solace through music. The singer acknowledges the abundance of illusions but also embraces the power of a fairy with a wand, a magical element that can turn dreams into reality. The reference to a kite's tail and a glass eye evokes the idea of fragility and the ability to withstand the challenges or expectations that come with being associated with or created from Adam's rib.
The chorus reveals the importance of dreaming alone and how it can lead one in any direction. The use of "flute, oar, or windmill" implies that the singer's dreams are not limited to one specific path but can encompass various possibilities. The repetition of "de passo a passo passo" (step by step) emphasizes the notion of progression and the need to take one's time in navigating through life.
Overall, the lyrics of "Fadas" reflect a desire for freedom, a search for meaning, and the transformative power of dreams.
Line by Line Meaning
Devo de ir, fadas
I must go, fairies
Inseto voa cego e sem direção
Insects fly blind and without direction
Eu bem te vi, nada
I saw you well, nothing
Ou fada borboleta, ou fada canção
Either butterfly fairy or song fairy
As ilusões fartas
The abundant illusions
A fada com varinha virei condão
I turned into a fairy with a wand
Rabo de pipa, olho de vidro
Kite's tail, glass eye
Pra suportar uma costela de Adão
To endure a rib of Adam
Um toque de sonhar sozinho
A touch of dreaming alone
Te leva a qualquer direção
It takes you in any direction
De flauta, remo ou moinho
With flute, oar or mill
De passo a passo passo
Step by step by step
Lyrics © Tratore, Warner Chappell Music, Inc.
Written by: Luiz Melodia
Lyrics Licensed & Provided by LyricFind
Marluce Soares
Incrívelllllll ...n sei quem é mais incrível se Elza, se Luiz, se os meninos do violão se tudo, é mt show, q falta faz vc Luiz 😖😓
Yurungai
Agora também faz falta dona Elza 🌠
Marconi Froehlich
@Helio Rubens Thomaz Alegre são Renato Piau e Perinho Santana 🙏🙏
Helio Rubens Thomaz Alegre
Elza e Luiz incríveis só faltou os créditos aos dois violinistas que tbm são incríveis.
Eliane Maceió
Verdade tudo excelente
Patricia Ferreira
E agora Elza. 😞
Leonardo Rodrigues de Menezes
Essa voz trêmula é incomparável! Não existe no mundo nada igual. Diva para sempre. Pena que não teve o reconhecimento merecido...
Bárbara Baptista
A voz do milênio só não foi ouvida com a devida apreciação em sua casa origem. Viva a artista e sua voz, Elza Soares!!!
Pedro
Atualmente só faz sucesso música de plástico, infelizmente... Mas Elza está eternizada na MPB, reconhecida internacionalmente e marcada como símbolo da representatividade da mulher pela sua história árdua e força imensurável.
janete lobo
Mas o brasileiro nao sabe valorizar suas riquezas,sempre foi assim ,