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.
Janelas Abertas No.2
Maria Bethânia Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Percorrer correndo os corredores em silêncio
Perder as paredes aparentes do edifício
Penetrar no labirinto
O labirinto de labirintos
Dentro do apartamento
Sim, eu poderia procurar por dentro a casa
Na sala receber o beijo frio em minha boca
Beijo de uma deusa morta
Deus morto, fêmea de língua gelada
Língua gelada como nada
Sim, eu poderia em cada quarto rever a mobília
Em cada uma matar um membro da família
Até que a plenitude e a morte coincidissem um dia
O que aconteceria de qualquer jeito
Mas eu prefiro abrir as janelas prá que entrem todos os insetos
In the song Janelas Abertas No.2, Maria Bethânia talks about the different ways in which she could explore the inside of a house, but she chooses to open the windows instead. She starts by saying that she could open the doors that lead inside the house and run in silence through the corridors. She could lose track of the visible walls of the building and enter into the maze of the apartment's interior. Maria then talks about exploring each room of the house to discover the secrets it holds within its walls. She could search the rooms one by one, and in the living room, she could experience the cold kiss of a dead goddess with a cold tongue, which represents the death of a relationship. She could uncover some of the hidden truths by examining the furniture of each room or even kill off her family members, but she abstains from doing so. Instead, she chooses to open the windows to let the insects come in.
Through her lyrics, Maria Bethânia chooses to be more observant of what is happening around her and what she can see through the windows. She prefers to let the world come to her, willingly inviting insects into her space, rather than searching for something. The insects represent the outside world, and by letting them in, she is embracing different perspectives and experiences. In the end, she chooses to open herself up to the world and is content with what she discovered without invading other people's privacy in the process. The song is a representation of the struggle between the desire to explore and discover and the peace and contentment that comes with simply observing the world.
Line by Line Meaning
Sim, eu poderia abrir as portas que dão pra dentro
Yes, I could open the doors that lead inward
Percorrer correndo os corredores em silêncio
Run silently through the corridors
Perder as paredes aparentes do edifício
Lose the apparent walls of the building
Penetrar no labirinto
Penetrate the labyrinth
O labirinto de labirintos
The labyrinth of labyrinths
Dentro do apartamento
Inside the apartment
Sim, eu poderia procurar por dentro a casa
Yes, I could search inside the house
Cruzar uma por uma, as sete portas, as sete moradas
Cross one by one, the seven doors, the seven residences
Na sala receber o beijo frio em minha boca
In the room receive the cold kiss on my mouth
Beijo de uma deusa morta
Kiss from a dead goddess
Deus morto, fêmea de língua gelada
Dead god, female with a cold tongue
Língua gelada como nada
Cold tongue like nothing
Sim, eu poderia em cada quarto rever a mobília
Yes, I could review the furniture in each room
Em cada uma matar um membro da família
In each one, kill a family member
Até que a plenitude e a morte coincidissem um dia
Until fullness and death coincided one day
O que aconteceria de qualquer jeito
What would happen anyway
Mas eu prefiro abrir as janelas prá que entrem todos os insetos
But I prefer to open the windows so all the insects can come in
Writer(s): Emanuel Viana Teles Veloso Caetano
Contributed by Jordan D. Suggest a correction in the comments below.