Maria Bethânia Viana Teles Veloso (June 18, 1946, Santo Amaro da Purificaçã… Read Full Bio ↴Maria Bethânia Viana Teles Veloso (June 18, 1946, Santo Amaro da Purificação, Bahia, Brazil), professionally known as Maria Bethânia, is a Brazilian singer and occasional poet and songwriter, having acquired the title of "Abelha Rainha" (Queen Bee) throughout her career. She is the second best selling Brazilian female singer of all time, with more than 24 million albums sold, considered to be one of the greatest interpreters in the history of Brazilian popular music.

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.

Esse Sonho Vai Dar
Maria Bethânia Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Não há nada de novo, porque não cantar
Essa dor, esse povo, esse povo sem par
Meu Deus
Primeiro o inventário, depois o inventar
Cantar o operário e cantar operar
Meu Deus (que esse sonho vai dar)
Meu Deus (que esse sonho vai dar)
Meu Deus (que esse sonho vai dar)

Meu Deus

Que pena que a vida é pequena para tanto amor
E nenhuma palavra consegue significar
Meu Deus (tá na terra e no ar)
Meu Deus (que esse sonho vai dar)
Meu Deus (esse sonho vai dar)
Meu Deus

Há mais rumba no bumba-meu-boi do Pará
Mas não tem lá que toque o toque do ijexá
Alfavela, alfavila, alfavida, al fatah
Meu Deus (todo mundo a cantar)
Meu Deus (que esse sonho vai dar)
Meu Deus (que esse sonho vai dar)
Meu Deus

Não há nada de novo, porque não cantar
Essa dor, esse povo, esse povo sem par
Meu Deus
Primeiro o inventário, depois o inventar
Cantar o operário e cantar operar
Meu Deus (que esse sonho vai dar)
Meu Deus (que esse sonho vai dar)
Meu Deus (que esse sonho vai dar)
Meu Deus

Que pena que a vida é pequena para tanto amor
E nenhuma palavra consegue significar, oi
Meu Deus (tá na terra e no ar)
Meu Deus (que esse sonho vai dar)
Meu Deus (que esse sonho vai dar)
Meu Deus

Há mais rumba no bumba-meu-boi do Pará
Mas não tem lá que toque o toque do ijexá
Alfavela, alfavila, alfavida, al fatah
Meu Deus (todo mundo a cantar)
Meu Deus (que esse sonho vai dar)
Meu Deus (que esse sonho vai dar)
Meu Deus

Que pena que a vida é pequena para tanto amor
E nenhuma palavra consegue significar, oi

Overall Meaning

The lyrics of “Esse Sonho Vai Dar” by Maria Bethânia are centered around the idea of not having anything new to say, yet still needing to sing about the pain and struggles of the people. The singer acknowledges that there is nothing new to report or sing about, but insists on bringing attention to the ongoing struggles of the people. The lyrics also reference the process of creating and inventing as well as the significance of singing about the working class. The repeated use of “Meu Deus” (My God) indicates a sense of hope and longing for change.

The second part of the song delves deeper into the complexities of the human experience, acknowledging the limits of language when it comes to expressing love and life. The singer emphasizes the need to celebrate and sing about diversity, specifically referencing the rhythms of the Bumba-meu-boi (popular festival) in Pará, Brazil, highlighting different styles of music and cultural influences. The song culminates in a declaration of hope that this dream will come true, and that the struggles of the people will eventually be recognized and addressed.

Overall, “Esse Sonho Vai Dar” is a heartfelt and powerful anthem that speaks to the importance of speaking up for those in need and advocating for change. The repetition of “Meu Deus” emphasizes a sense of faith and hope that this dream of progress and equality will one day come to fruition.

Line by Line Meaning

Não há nada de novo, porque não cantar
There's nothing new, so why not sing about this pain and unique people?

Essa dor, esse povo, esse povo sem par
Sing about this pain and this unparalleled, unique people.

Meu Deus
Oh my God!

Primeiro o inventário, depois o inventar
First, take inventory, then create something new.

Cantar o operário e cantar operar
Sing about the worker and sing while you work.

Meu Deus (que esse sonho vai dar)
Oh my God! (this dream will come true)

Que pena que a vida é pequena para tanto amor
It's a shame that life is short for so much love.

E nenhuma palavra consegue significar
And no word can really express it.

Meu Deus (tá na terra e no ar)
Oh my God! (it's on earth and in the air)

Há mais rumba no bumba-meu-boi do Pará
There's more rumba in the Pará's bumba-meu-boi,

Mas não tem lá que toque o toque do ijexá
But it doesn't have the Ijexá beat there.