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.
Olhos Nos Olhos
Maria Bethânia Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Quando voce me deixou, meu bem
Me disse pra ser feliz e passar bem
Quis morrer de ciúme
Quase enlouqueci
Mas depois como era de costume, obedeci
Já vai me encontrar refeita, pode crer
Olhos nos olhos
Quero ver o que voce faz
Ao sentir que sem voce eu passo bem demais
E que venho até remoçando
Me pego cantando sem mais nem porque
E tantas águas rolaram
Tantos homens me amaram bem mais e melhor que voce
Quando talvez precisar me mim
Voce sabe que a casa é sempre sua, venha sim
Olhos nos olhos
Quero ver o que voce diz
Quero ver como suporta me ver tão feliz
In Maria Bethânia's song Olhos Nos Olhos, originally written by Chico Buarque, the lyrics tell a story of a woman who has been left by her lover. At first, she wanted to die of jealousy and almost went insane, but eventually she obeyed his request to be happy and move on. When the ex-lover expresses a desire to see her again, she confidently assures him that he will find her transformed and happy without him. The chorus emphasizes her independent strength and curious anticipation: "Olhos nos olhos, quero ver o que você faz, ao sentir que sem você eu passo bem demais" ("Eyes on eyes, I want to see what you do, when you feel that without you, I am doing fine").
As the song progresses, the woman boasts of her newfound happiness and vitality, singing of how many other men have loved her better than he did, and how she catches herself singing for no apparent reason. She tells him that he is always welcome in her home if he ever needs her. However, the final chorus suggests that this new contentment is not just for show, but a true test of her former lover's character: "Olhos nos olhos, quero ver o que você diz, quero ver como suporta me ver tão feliz" ("Eyes on eyes, I want to see what you say, I want to see how you bear to see me so happy").
Overall, these lyrics showcase a strong and independent woman who has moved on from a failed relationship and is now content in her own skin. The repeated "olhos nos olhos" refrain adds a defiant challenge to her ex-lover, daring him to face her and see how well she has done without him.
Line by Line Meaning
Quando voce me deixou, meu bem
When you left me, my love
Me disse pra ser feliz e passar bem
You told me to be happy and to take care
Quis morrer de ciúme
I wanted to die of jealousy
Quase enlouqueci
I almost went crazy
Mas depois como era de costume, obedeci
But then, as usual, I obeyed
Quando voce me quiser rever
When you want to see me again
Já vai me encontrar refeita, pode crer
You will find me recovered, trust me
Olhos nos olhos
Eyes to eyes
Quero ver o que voce faz
I want to see what you do
Ao sentir que sem voce eu passo bem demais
When you feel that I am doing too well without you
E que venho até remoçando
And that I am even rejuvenating
Me pego cantando sem mais nem porque
I find myself singing for no apparent reason
E tantas águas rolaram
And so many days have passed
Tantos homens me amaram bem mais e melhor que voce
So many men loved me much more and better than you
Quando talvez precisar me mim
When you maybe need me
Voce sabe que a casa é sempre sua, venha sim
You know that the house is always yours, come over
Olhos nos olhos
Eyes to eyes
Quero ver o que voce diz
I want to see what you say
Quero ver como suporta me ver tão feliz
I want to see how you handle seeing me so happy
Contributed by Muhammad Y. Suggest a correction in the comments below.
@marciadecassiaribeiromotad6884
Essa música pra mim é o hino da resiliência e da volta por cima! É pra cantar sorrindo!
@WagnerSEP1914
Bem isso... Kkkkk
@almirsanimoreira1262
Definição perfeita.
Tantos "pés-na-bunda" que levamos na vida ....
Paciência, a vida é assim mesmo !
É assim que aprendemos e crescemos.
Depois de um "fora" a gente sofre, chora, "quer morrer", ... Mas segue em frente.
Como você disse: Resiliência !!
Perfeito !
E Felicidades e Sucesso para você !
@claudiovilchesg
"Voce sabe que a casa será sempre sua, venha sim..."
Quer dizer, que segue pensando nele. Kkkkkkkk
@auryfalcao943
Música de Chico Buarque maravilhosa, deveria ser o hino de muitas mulheres que têm amor próprio....
@auryfalcao943
@@almirsanimoreira1262 Música perfeita, até pensa nele ,mas não precisa dele para ser feliz...
@alexjeorge3618
"Tantos homens me amaram bem mais e melhor que você ". O inexplicável amor.
@lisoares2859
vivi 26 anos amando um vazio ,fugi pra me libertar deste amor que me machucou ,encontrei um amor que me devolve a esperança de ser feliz .🥰
@rinhadeirorinhador4706
Que sejam felizes .
@arlindolima6016
Saudade de ARLINDO Amo Sua Fátima 2022 54 Ano de Casada Amo Loucamente mas Ele morreu