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.
Recado Falado
Maria Bethânia Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Esse T de tensão, esse A de amor ressentido
Qualquer coisa no ar, esse desassossego
Um recado falado, um bilhete guardado, um segredo
Um desejo no lábio, um carinho travado, um azedo
Qualquer coisa no ar, esse desassossego
No metrô da saudade seremos fiéis passageiros
Um agosto molhado, um dezembro passado, um janeiro
Cessará finalmente entre nós esse mito, não minto
Esse I de ilusão, esse T de tesão infinito
Qualquer coisa no ar, esse desassossego.
The lyrics of Maria Bethânia's song Recado Falado reflect the complexity of an unpredictable and disquieting love relationship. The song starts with the statement that there will always be a tension between the couple, represented by the letters "T" and "A" for tension and resentful love, respectively. The following verse elaborates on the feelings that are in the air, the discomfort that arises from not being sure what the other person thinks, feels, or wants. The chorus repeats this idea and adds that there might be a spoken message, a hidden note, or some other secret that adds to the uncertainty. The second verse adds more layers to these emotions, describing a desire unfulfilled, a fondness that is held back, and a sour taste that pervades the relationship. The chorus repeats again, emphasizing the unease and the vague sense of foreboding.
As the song progresses, it depicts the couple as passengers on the subway of nostalgia, implying that they are not really in the present, but rather moving through the memories and echoes of their past encounters. The lyrics mention specific months, August and December, and the more neutral "January," perhaps indicating that these are significant dates for the couple, either because of happy or sad events. The idea of the "something in the air" returns in this verse, but this time, it is not just a feeling but a definitive presence, something that cannot be ignored or explained away. The final verse suggests that the couple's relationship might have a mythic quality to it, something that is not entirely real but is sustained by illusions and desires that cannot be fulfilled. The song ends on the same unsettling note as it began, as if to suggest that there might be no resolution to this tension and restlessness.
Overall, Maria Bethânia's Recado Falado is a poignant and introspective reflection on the complexities of love and relationships. The lyrics capture the ebb and flow of emotions, the uncertainties and fears that can arise when two people try to connect. The song's melody is haunting and ethereal, matching perfectly with the vague and elusive feelings that the lyrics convey.
Line by Line Meaning
Haverá sempre, sempre entre nós esse digo não digo
There will always be this hesitation between us, the things left unsaid.
Esse T de tensão, esse A de amor ressentido
The tension between us and the lingering resentment of our past love.
Qualquer coisa no ar, esse desassossego
There's something in the air, a restlessness we can't shake.
Um recado falado, um bilhete guardado, um segredo
A message spoken, a note kept, a secret between us.
Um desejo no lábio, um carinho travado, um azedo
A desire on the lips, a withheld touch, a sour feeling.
No metrô da saudade seremos fiéis passageiros
In this subway of nostalgia, we will be faithful passengers.
Um agosto molhado, um dezembro passado, um janeiro
A wet August, a past December, a new January.
Cessará finalmente entre nós esse mito, não minto
This myth between us will finally cease, I'm not lying.
Esse I de ilusão, esse T de tesão infinito
This illusion and infinite desire between us.
Qualquer coisa no ar, esse desassossego
There's something in the air, a restlessness we can't shake.
Contributed by Mila G. Suggest a correction in the comments below.
Luiz Marsuely
Essa interpretação foi além do criador , com esse arranjo e voz, Alceu tem que tirar o chapéu.
Peu Roberto Almeida
LINDA DEMAIS!!!!!!!!!!!!!!
Ricardo Mac
Linda interpretação da música de Alceu Valença....
Jornalista daniel Soares Jornalista Daniel Soares
Incrível 👏🏼
Canal Tudo Games
Apesar da música ser do Alceu , ele só gravou depois de ver que foi um sucesso na voz da Bethânia um ano antes!
Various LPs
A versão original era de Alceu Valença do álbum Andar,Andar de 1990.
Various LPs
@BPJC COSTÃO Ah sim , isso eu não sabia 😅
BPJC COSTÃO
Mpb Para Sempre Mas essa música está no álbum "Maria" que a Bethânia lançou em 1988 , aliás é a primeira faixa do álbum... então msm a música sendo do Alceu, Bethânia gravou primeiro.
Lica Lilica
Valeu jefferson!
Jéssica Moraes
puta que pariu brthania