Sister of the also popular and renowned singer and composer Caetano Veloso, she began her artistic career in 1963, appearing in the play "Boca de Ouro" by Nelson Rodrigues. A song about the play was written by Caetano Veloso, who opened the show singing a samba track by Ataulfo Alves. That year she met Gilberto Gil, Gal Costa, Tom Zé, Djalma Correa, Pitti, Alcivando Luz and Fernando Lona in Salvador, with whom she performed at the commemorations inaugurating the Vila Velha de Salvador theatre in 1964 in the shows "Nós por exemplo" and "Nova bossa velha, velha bossa nova". In 1964 she also appeared in "Mora na Filosofia", her first solo show, when she met Nara Leão. As 1965 she replaced the muse of bossa nova in the show at Teatro Opinião (Rio de Janeiro), sharing the stage with Zé Kéti and João do Vale. She stood out for her stirring interpretation of the song "Carcará". In 1965 she also recorded her first record, a single containing the tracks "Carcará" and "É de manhã", the first recording of Caetano Veloso’s composition. That same year she released a double single with the songs "Carcará", "No carnaval", "Mora na filosofia" and "Só eu sei", followed by her debut album "Maria Bethânia" and the record "Maria Bethânia canta Noel Rosa". That year she also performed in the show Arena canta Bahia, directed by Augusto Boal, alongside Gal, Gil, Caetano, Pitti and Tom Zé. Also under the direction of Boal, the same group performed the show Tempo de Guerra. In 1996 she shared the stage of Teatro Opinião with Vinícius de Moraes and Gilberto Gil, presenting the show "Pois é". In 1967 she released the album "Edu & Bethânia" with Edu Lobo. She appeared in the shows "Yes, nós temos Maria Bethânia" (Bolso theatre, Rio de Janeiro) and "Comigo me desavim" (Miguel Lemos theatre, Rio de Janeiro) and "Brasileiro profissão esperança", by Paulo Pontes, directed by Bibi Ferreira, at the Casa Grande theatre (Rio de Janeiro). In 1971 she recorded the album "A tua presença", which was praised by the select critics. In 1971 the show "Rosa dos ventos" premiered at Teatro da Praia (Rio de Janeiro), directed by Fauzi Arap and she released the album of the same name. In 1972 she appeared alongside Chico Buarque and Nara Leão in the film "Quando o carnaval chegar" by Cacá Diegues. After another trip to Europe, she launched the album "Drama - anjo exterminado" also that year. In 1973 the show Drama, luz da noite premiered at Teatro da Praia, directed by Antônio Bivar and Isabel Câmara, from which arose the record "Luz da noite". The following year she commemorated ten years in the music business with the show "A cena muda", directed by Fauzi Arap, at the Casa Grande Theatre (Rio de Janeiro). The show led to a live record of the same name. In 1975 she performed a lengthy season with Chico Buarque at the Canecão (Rio de Janeiro). In 1976 she recorded the album "Pássaro proibido" which earned her first gold record. Also that year she got together with Caetano, Gil and Gal, forming the group Os Doces Bárbaros. In 1977 she released the album "Pássaro da manhã", for which she received the second gold record of her career. That year she was considered one of the bestselling singers in Brazil, which opened new doors in the record industry. In 1978 she starred in the show "Maria Bethânia e Caetano Veloso ao vivo" alongside her brother. Also that year the album "Álibi" was released, which earned her third gold disk. In 1979 she recorded the album "Mel". She released a series of records in the following decades: "Alteza" (81), "Maria" (88), "Memória da pele" (89), "Olho d’água" (92), "As canções que você fez pra mim" (93), only recording records by Roberto and Erasmo Carlos Âmbar (96), "Imitação da vida" (97) and "A força que nunca seca" (99). In 1994 she performed alongside Caetano Veloso, Gal Costa and Gilberto Gil, in the show "Doces Bárbaros na Mangueira", reference to the tribute made to them by this samba school, with the theme "Atrás da verde e rosa só não vai quem já morreu". In 2000, she recorded limited-edition album "Cânticos, preces, súplicas à Senhora dos Jardins do Céu". In 2001, she recorded the album "Maricotinha", containing the tracks "Moça do sonho" (Edu Lobo and Chico Buarque), from the musical "Cambaio, Primavera" (Carlos Lyra and Vinícius de Moraes), "Quando você não está aqui" (Herbert Vianna and Paulo Sérgio Valle), "Antes que amanheça" (Chico César and Carlos Rennó) and "Se eu morresse de saudade" (Gilberto Gil), among others, in addition to the title track, by Dorival Caymmi. She released the record a special show at the Canecão (Rio de Janeiro). The show included appearances by Caetano Veloso, Carlos Lyra, Chico Buarque, Nana e Danilo Caymmi, Adriana Calcanhoto and Gilberto Gil, among other artists. Also in 2001, in commemoration of her 35 years in the music business, she returned to the Canecão in the show "Maricotinha", which led to the double album "Maricotinha ao vivo". On December 8 that same year, she performed before 100,000 people on Copacabana beach alongside Caetano Veloso, Gilberto Gil and Gal Costa in the show "Doces Bárbaros", which concluded the project Pão Music. In 2003 the show presented in 2001 at the Canecão was released on the DVD "Maricotinha ao vivo", directed by André Horta. In 2003 she was also nominated for the Multishow Award in the categories Best Show and Best Album for "Maricotinha ao vivo". Also that year she created her own label, Quitanda, in partnership with record company Biscoito Fino, inaugurated the company by releasing the album "Brasileirinho", containing songs about religion and Brazil, with guest appearances by Nana Caymmi, Miúcha, Denise Stoklos and Ferreira Gullar, in addition to the groups Tira Poeira and Uakti, and the album "Vozes da Purificação", the first song recorded by Dona Edith do Prato. In 2004 she received the Tim Award in the categories Best Singer, Best Record and best visual MPB project, the Rival BR Award in the category Best Album, and the Academia Brasileira de Letras Award in the category Best Singer, in addition to being nominated for the Latin Grammy. That same year she produced and appeared as a singer alongside other artists on the album "Namorando a Rosa", a tribute record to violinist Rosinha de Valença, released by her Quitanda label. In 2005 she released the album Que falta você me faz, recording works by Vincius de Moraes, in partnership with Tom Jobim, Chico Buarque, Carlos Lyra, Baden Powell, Toquinho, Adoniran Barbosa and Jards Macalé. That same year she appeared at Canecão (Rio de Janeiro) in the show "Tempo Tempo Tempo Tempo - Uma homenagem a Vinícius de Moraes". In 2005 she also received the Golden Music Dolphin Award from the Rio de Janeiro State Culture Council.
Bar da Noite
Maria Bethânia Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Que eu quero ficar sozinha
Garçom, me deixe comigo
Que a mágoa que eu tenho é minha
Quantos estão pelas mesas
Bebendo tristezas
Querendo ocultar
Renasce na alma
Desponta no olhar
Garçom, se o telefone tocar
E se for pra mim
Garçom, repita pra ele
Que eu sou mais feliz assim
Você sabe bem que é mentira
Mentira noturna de bar
Bar, tristonho sindicato
De sócios da mesma dor
Bar que é o refúgio barato
Dos fracassados no amor
In the lyrics of the song "Bar da Noite" by Maria Bethânia, the singer calls on the waiter to turn off the light and leave her alone, expressing a desire to be left in solitude. This request suggests a melancholic and introspective mood, as the singer wants to confront her own feelings of sorrow and pain without any distractions or interference. By asking to be left alone with her thoughts, the singer is indicating a deep need for self-reflection and emotional processing.
The following lines of the song describe a scene in a bar where people are gathered around tables, drinking to drown their sorrows and hide their inner pain. This imagery conveys a sense of shared suffering and hidden emotions, as individuals seek solace in alcohol to mask their true feelings. The contrast between the outward act of drinking and the internal struggle of dealing with personal demons is highlighted, suggesting a poignant and relatable theme of human vulnerability and the ways in which people cope with their inner turmoil.
The singer then mentions the possibility of a phone call coming through, indicating a potential interruption to her moment of solitude. However, she instructs the waiter to convey that she is happier being alone in the bar. This moment further underscores the singer's desire for solitude and independence, as she rejects the idea of being disturbed or compelled to engage with the outside world. The lyrics depict a sense of defiance and self-preservation, as the singer chooses to prioritize her own emotional well-being and inner peace over external demands or expectations.
The song lyrically portrays the bar as a symbolic space of solace and camaraderie for those who have experienced failure and disappointment in love. It is described as a "tristonho sindicato," a melancholic union of individuals united by the shared experience of pain and heartbreak. The bar is depicted as a refuge, a place where the broken-hearted find solace and understanding among their fellow "members" in a setting that offers both escape and companionship. Through these evocative lyrics, Maria Bethânia captures the profound emotional depth and complexity of the human experience, exploring themes of solitude, resilience, and the communal nature of suffering and heartache.
Line by Line Meaning
Garçom, apague esta luz
Waiter, turn off this light
Que eu quero ficar sozinha
Because I want to be alone
Garçom, me deixe comigo
Waiter, leave me with myself
Que a mágoa que eu tenho é minha
Because the sorrow I hold is mine
Quantos estão pelas mesas
How many are sitting at the tables
Bebendo tristezas
Drinking their sorrows
Querendo ocultar
Trying to hide
O que se afoga no copo
What drowns in the glass
Renasce na alma
Reborn in the soul
Desponta no olhar
Emerges in their gaze
Garçom, se o telefone tocar
Waiter, if the phone rings
E se for pra mim
And if it's for me
Garçom, repita pra ele
Waiter, tell him again
Que eu sou mais feliz assim
That I'm happier this way
Você sabe bem que é mentira
You know well that it's a lie
Mentira noturna de bar
A nighttime lie of the bar
Bar, tristonho sindicato
Bar, gloomy syndicate
De sócios da mesma dor
Of partners in the same pain
Bar que é o refúgio barato
Bar that is the cheap refuge
Dos fracassados no amor
For the failures in love
Lyrics © Editora e Importadora Musical Fermata do Brasil Ltda.
Written by: Edila Luiza Reis, Haroldo Barbosa
Lyrics Licensed & Provided by LyricFind
Jorge Luiz
Liberem o DVD ❤️🌹
Lucas Cobucci
Na espera por esse DVD 🙏🏻🙏🏻🙏🏻🥰 Por favor @biscoitofino lança pra gente esse registro
Arthur Henrique Macário Soares
Ouvir Maria Bethânia é divino, profano e maravilhoso.
Geovane Torres
Bethânia é a elegância da música brasileira. Seu mergulho nas letras é mergulho em mim também.
Laura Lopes
Sem palavras pra tamanha voz e talento.. tenho 29 anos e não troco Bethânia por nada .. !!! Magnífica!!!!
Bruno Fernandes
Eu troco por Gal
Tobirama Senju
Como reverenciar uma estrela, não sei o que dizer e nem o que fazer, fico paralisado com tamanho brilho de Bethânia.
Macedônia Felix
O novo algum Noturno, o qual já ouvi algumas vezes, é um misto das melhores e intensas emoções humanas. É choro, é alegria, é a perfeição das letras com os arranjos que encantam. É o fascínio que a interpretação de Bethania simples, profunda, precisa, impõe a quem se deleita com sua arte. Noturno, exige tempo. Impossível de ouvir apenas uma única vez, ou não ficar sobre os efeitos de sua composição. Mais um trabalho impecável da Abelha Rainha.
Cremilda Moyses
Linda
Herik Henrique
Esse último trabalho dela "Noturno" é de ouvir de joelhos. Bethânia sempre me arrebata com sua incrível dramaticidade e entrega