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.
Gota d'água
Maria Bethânia Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Já estanquei meu sangue quando fervia
Olha a voz que me resta
Olha a veia que salta
Olha a gota que falta
Pro desfecho da festa
Por favor
Deixe em paz meu coração
E qualquer desatenção, faça não
Pode ser a gota d'água
In Maria Bethânia's song "Gota d'água," the lyrics delve into themes of sacrifice, bitterness, and emotional exhaustion. The singer expresses having already given their body and happiness, going as far as suppressing their passions and desires. The phrase "Já lhe dei meu corpo, minha alegria" (I have already given you my body, my joy) represents a sense of surrender to a relationship or situation that has drained them emotionally.
The line "Já estanquei meu sangue quando fervia" (I have stifled my blood when it boiled) portrays a proactive resistance to letting one's emotions get the best of them. However, there is still a residual feeling of pain and regret, hinted by the mention of the remaining tear or "gota" (drop) that could be the breaking point or the last straw.
The plea "Por favor, deixe em paz meu coração" (Please, leave my heart alone) signals the singer's plea for peace and respite from further emotional disturbances. The repetition of "Olha" (Look) emphasizes the importance of paying attention, as the smallest inconsiderate action or word could potentially trigger a catastrophic ending.
Ultimately, the phrase "Pode ser a gota d'água" (It could be the drop of water) carries a dual meaning. It refers to both the literal notion of a tiny drop causing the overflow of a vessel but also symbolizes a final breaking point in an already troubled existence. The song captures the complex emotions and vulnerability experienced when one's patience and resilience are stretched to their limits.
Line by Line Meaning
Já lhe dei meu corpo, minha alegria
I have already given you my body, my joy
Já estanquei meu sangue quando fervia
I have already halted my boiling blood
Olha a voz que me resta
Look at the voice that remains within me
Olha a veia que salta
Look at the vein that pulsates
Olha a gota que falta
Look at the drop that is missing
Pro desfecho da festa
For the conclusion of the party
Por favor
Please
Deixe em paz meu coração
Leave my heart in peace
Que ele é um pote até aqui de mágoa
Because it is a jar overflowing with sorrow
E qualquer desatenção, faça não
And any inattention, please refrain
Pode ser a gota d'água
It could be the final straw
Lyrics © O/B/O APRA AMCOS
Written by: Francisco Buarque De Hollanda
Lyrics Licensed & Provided by LyricFind
Matheus De Brito
Adoro essa música, é forte, é linda! E Bethânia interpreta belissimamente.
Paulo Franco
Serginho, boa tarde. Acabei de me inscrever no seu.... achei de extremo bom gosto. Parabéns . Bethânia é tudo.👋👋👋👋👋
Raquel Rodrigues
Genial..Chico e Bethânia! Aguenta coração...rsrs
Marta Dantas
BELÍSSIMO.
Marcos Elias
Não tem interpretação melhor, ( ímpar )
cebolinha198
Essa música é linda, uma pérola. E machuca muito o intérprete. A emoção e as armadilhas da melodia põem o intérprete sob pressão o tempo todo. O risco de desatinar é constante e em todas as versões, exceto a de Beth de Carvalho, todos semitonam. Até Chico, que tem tanta intimidade com a afinação, escorrega. Mas nada empana a beleza da música. Muito bom.
Varnibia Marchi
Foi s gota d agus
Helio Nunes
Totalmente desafinada.
Shroomallie
Helio Nunes Tão caras as aulas de canto q vc ministra, profe?
Amanda Vieira
chega da agonia kkk