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.
Lágrima
Maria Bethânia Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Todos os meus sonhos que tu carregaste, hás de me pagar
A flor dos meus anos, meus olhos insanos de te esperar
Os meus sacrifícios, meus medos, meus vícios, hei de te cobrar
Cada ruga que trouxer no rosto, cada verso triste que a dor me ensinar
Cada vez que no meu coração, morrer uma ilusão, hás de me pagar
Toda festa que adiei, tesouros que entreguei, a imensidão do mar
A flor dos meus anos, meus olhos insanos, de te esperar
Os meus sacrifícios, meus medos, meus vícios, hei de te cobrar
Cada ruga que eu trouxer no rosto, cada verso triste que a dor me ensinar
Cada vez que no meu coração morrer uma ilusão, hás de me pagar
Toda festa que adiei, tesouros que entreguei, a imensidão do mar
As noites que encarei sem Deus, na cruz do teu adeus, hei de te cobrar...
Lágrima por lágrima.
In this song, Maria Bethânia expresses her deep pain and resentment towards a past lover who has left her heartbroken. She declares that she will make him pay for all the dreams that he carried away with him, and all the sacrifices, fears and vices that she gave up while waiting for him. Bethânia vows to hold him accountable for every wrinkle on her face and every sad verse that she learned from her pain. She promises to demand compensation for every illusion that died in her heart and for all the missed opportunities that she sacrificed for him. She ends the song by saying that she will make him pay for every night she faced without God, following his departure.
The repetition of the lines "lágrima por lágrima" emphasizes the deep sorrow that Bethânia feels and her determination to extract the highest price from her past lover for his abandonment. The song highlights the universal experience of heartbreak and the emotional trauma that it leaves behind. Bethânia's lyrical and emotional delivery of the song touches the heart of anyone who has ever experienced the pain of love lost.
Line by Line Meaning
Lágrima por lágrima hei de te cobrar
I will make you pay, tear by tear, for all of my dreams that you carried.
Todos os meus sonhos que tu carregaste, hás de me pagar
You will repay me for every dream of mine that you shouldered.
A flor dos meus anos, meus olhos insanos de te esperar
You will repent for the flower of my youth, the craziness in my eyes from waiting for you.
Os meus sacrifícios, meus medos, meus vícios, hei de te cobrar
You will pay for my sacrifices, fears, and vices.
Cada ruga que trouxer no rosto, cada verso triste que a dor me ensinar
With each wrinkle that appears on my face, each sad verse that pain teaches me, you will pay.
Cada vez que no meu coração, morrer uma ilusão, hás de me pagar
Whenever an illusion dies in my heart, you will be made to pay.
Toda festa que adiei, tesouros que entreguei, a imensidão do mar
You will be held responsible for every party I missed, every treasure I gave away, and the vastness of the sea.
As noites que encarei sem Deus, na cruz do teu adeus, hei de te cobrar
You will pay for the nights I faced without God, at the cross of your goodbye.
Lágrima por lágrima,
Tear by tear,
A flor dos meus anos, meus olhos insanos, de te esperar
You will be made to pay for the flower of my youth and the craziness in my eyes from waiting for you.
Os meus sacrifícios, meus medos, meus vícios, hei de te cobrar
You will be held accountable for my sacrifices, fears, and vices.
Cada ruga que eu trouxer no rosto, cada verso triste que a dor me ensinar
You will pay for each wrinkle that appears on my face and every sad verse that pain teaches me.
Cada vez que no meu coração morrer uma ilusão, hás de me pagar
You will be made to pay whenever an illusion dies in my heart.
Toda festa que adiei, tesouros que entreguei, a imensidão do mar
You will be held accountable for all the parties I missed, all the treasures I gave away, and the vastness of the sea.
As noites que encarei sem Deus, na cruz do teu adeus, hei de te cobrar...
You will pay for the nights I faced without God, at the cross of your goodbye.
Contributed by Adalyn V. Suggest a correction in the comments below.
Manoel de Paula
Você que está ouvindo essa música, tenho uma coisa pra te dizer:
você tem um gosto e tanto amigo(a). Parabéns!!
Cassandra Miranda Borges
Finalmente encontrei a música mais bonita que já ouvi, cantada pela espetacular Bethânia... Meu Deus... chorei um mar de lágrimas no show onde se apresentou com o maestro João Carlos Martins, dia 30, em SP...
Caio Vitor Lima
Divina. Bethânia não canta, ela transcende o canto. Bethânia ora em forma de canção.
Francisca Vitória
Concordo!!!
João Pedro
Eu estou pasmo, como pode ser tão maravilhosa e incrível? Rainha dona do meu coração.
Antonio Antonio
Lindo demais!
Verdadeira poesia!
A ingratidão deixa marcas e, por incrível que pareça, isso parece saudade...
Nazaré Silva
Que música linda e interpretação perfeita.
Clara Assis
Música lindíssima! Uma prece!
Jackson Gouveia
Essa canção é muito linda., tenho a impressão que essa música ia ser muito gravada pelas divas das décadas de 40 e 50
Cláudia Castro Lobo
Beleza em estado puro... Poema, música, voz, representação... TUDO!