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.
Roda Viva / Maninha
Maria Bethânia Lyrics
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Maria Bethânia
Composição: Chico Buarque
Tem dias que a gente se sente
Como quem partiu ou morreu
A gente estancou de repente
Ou foi o mundo então que cresceu...
A gente quer ter voz ativa
No nosso destino mandar
Mas eis que chega a roda viva
E carrega o destino prá lá ...
Roda mundo, roda gigante
Roda moinho, roda pião
O tempo rodou num instante
Nas voltas do meu coração...
A gente vai contra a corrente
Até não poder resistir
Na volta do barco é que sente
O quanto deixou de cumprir
Faz tempo que a gente cultiva
A mais linda roseira que há
Mas eis que chega a roda viva
E carrega a roseira prá lá...
Roda mundo, roda gigante
Roda moinho, roda pião
O tempo rodou num instante
Nas voltas do meu coração...
A roda da saia mulata
Não quer mais rodar não senhor
Não posso fazer serenata
A roda de samba acabou...
A gente toma a iniciativa
Viola na rua a cantar
Mas eis que chega a roda viva
E carrega a viola prá lá...
Roda mundo, roda gigante
Roda moinho, roda pião
O tempo rodou num instante
Nas voltas do meu coração...
O samba, a viola, a roseira
Que um dia a fogueira queimou
Foi tudo ilusão passageira
Que a brisa primeira levou...
No peito a saudade cativa
Faz força pro tempo parar
Mas eis que chega a roda viva
E carrega a saudade prá lá ...
Roda mundo, roda gigante
Roda moinho, roda pião
O tempo rodou num instante
Nas rodas do meu coração...(4x)
Maninha
Chico Buarque
Composição: Chico Buarque
Se lembra da fogueira
Se lembra dos balões
Se lembra dos luares dos sertões
A roupa no varal, feriado nacional
E as estrelas salpicadas nas canções
Se lembra quando toda modinha falava de amor
Pois nunca mais cantei, oh maninha
Depois que ele chegou
Se lembra da jaqueira
A fruta no capim
Dos sonhos que você contou pra mim
Os passos no porão, lembra da assombração
E das almas com perfume de jasmim
Se lembra do jardim, oh maninha
Coberto de flor
Pois hoje só dá erva daninha
No chão que ele pisou
Se lembra do futuro
Que a gente combinou
Eu era tão criança e ainda sou
Querendo acreditar que o dia vai raiar
Só porque uma cantiga anunciou
Mas não me deixe assim, tão sozinha
A me torturar
Que um dia ele vai embora, maninha
Prá nunca mais voltar...
The song "Roda Viva" by Maria Bethânia, with lyrics by Chico Buarque, is a powerful reflection on the unpredictable and sometimes cruel nature of life. The first stanza sets the tone for the rest of the song, with its description of feeling stuck or left behind while the world keeps moving forward, beyond our control. The chorus highlights the cyclical nature of life and the inevitable ups and downs that go along with it, as the world spins like a giant wheel and time slips away.
As the song progresses, it becomes clear that the metaphor of the spinning wheel extends beyond just the passage of time, encompassing broader themes of loss, disappointment, and the fragility of human aspirations. The singer laments the foregone moments of youth, of love, of artistic expression, and of hope for a better future. Despite these setbacks, however, there is an underlying sense of resilience and determination, as the singer refuses to be completely crushed by the struggles of life.
Overall, "Roda Viva" is an eloquent and stirring meditation on the joys and sorrows of existence, and a reminder that even when the wheel seems to be turning against us, there is still power in the human spirit to endure and triumph.
Line by Line Meaning
Tem dias que a gente se sente / Como quem partiu ou morreu / A gente estancou de repente / Ou foi o mundo então que cresceu...
Sometimes, we feel like we've already left or died. We suddenly stop, or maybe it's the world that's grown too big...
A gente quer ter voz ativa / No nosso destino mandar / Mas eis que chega a roda viva / E carrega o destino prá lá...
We want to have an active voice and control our destiny, but then the perpetual cycle of change comes and takes us for a ride...
Roda mundo, roda gigante / Roda moinho, roda pião / O tempo rodou num instante / Nas voltas do meu coração...
The world keeps turning, the clock keeps ticking, and time passes us by in the twists and turns of our emotions...
A gente vai contra a corrente / Até não poder resistir / Na volta do barco é que sente / O quanto deixou de cumprir...
We often swim against the current until we can't resist anymore. It's only when we're traveling back towards the past that we realize what we've missed out on...
Faz tempo que a gente cultiva / A mais linda roseira que há / Mas eis que chega a roda viva / E carrega a roseira prá lá...
We have devoted time and energy to cultivating something beautiful, but the cycle of life can swoop in and uproot it all...
A roda da saia mulata / Não quer mais rodar não senhor / Não posso fazer serenata / A roda de samba acabou...
The lively rhythm of a Latin skirt cannot be found anymore, and there's no chance for love songs or samba circles...
A gente toma a iniciativa / Viola na rua a cantar / Mas eis que chega a roda viva / E carrega a viola prá lá...
We take initiative and play guitar in the streets, but the unpredictability of life can make everything change in a flash...
O samba, a viola, a roseira / Que um dia a fogueira queimou / Foi tudo ilusão passageira / Que a brisa primeira levou...
The samba, guitar, and rose garden that were once destroyed by fire were just a fleeting illusion that vanished with the first gust of wind...
No peito a saudade cativa / Faz força pro tempo parar / Mas eis que chega a roda viva / E carrega a saudade prá lá...
Nostalgia and longing can make time seem to stand still, but the never-ending cycle of life eventually brings us to new experiences, leaving behind what we once held dear...
Se lembra da fogueira / Se lembra dos balões / Se lembra dos luares dos sertões / A roupa no varal, feriado nacional / E as estrelas salpicadas nas canções...
Remember the bonfires, the balloons, the moonlit nights of the countryside? The laundry hanging on the line, national holidays, and the stars scattered throughout songs...
Se lembra quando toda modinha falava de amor / Pois nunca mais cantei, oh maninha / Depois que ele chegou...
Remember when every song was about love? I haven't sung since he arrived, dear sister...
Se lembra da jaqueira / A fruta no capim / Dos sonhos que você contou pra mim / Os passos no porão, lembra da assombração / E das almas com perfume de jasmim...
Remember the jackfruit tree, the fruit in the grass and the dreams you shared with me? The footsteps in the cellar, the ghost stories, and the souls blessed with the fragrance of jasmine...
Se lembra do jardim, oh maninha / Coberto de flor / Pois hoje só dá erva daninha / No chão que ele pisou...
Remember the garden, dear sister? Once covered in flowers, but now only weeds grow where he walked...
Se lembra do futuro / Que a gente combinou / Eu era tão criança e ainda sou / Querendo acreditar que o dia vai raiar / Só porque uma cantiga anunciou...
Remember the future we planned together? I was so young then and still am now, wanting to believe that a new day will dawn simply because a song says so...
Mas não me deixe assim, tão sozinha / A me torturar / Que um dia ele vai embora, maninha / Prá nunca mais voltar...
But don't leave me all alone, torturing myself. One day he'll leave, dear sister, never to return...
Contributed by Elizabeth F. Suggest a correction in the comments below.