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.
Sucesso Bendito
Maria Bethânia Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
A solidão, a alegria, a verdade, a mentira
Se iluminam por mim, por você, por nós, pela voz)
Quantos gestos de amor
Nosso canto tornou possíveis
Como o canto é capaz
De ler sonhos os mais incríveis
Se fariam demais pra sofrer
Se não fosse a canção
Quantas vezes a vida seria
Pesada demais pra batida do coração
Cada disco que sai
Entre um riso e um ai
Buscando o momento de alguém
Que se torne seu quem, seu plano
Se esse encontro se dá e porque
Eu não sei você vai saber
Mas é muito bonito
E podemos dizer
Que o sucesso assim será bendito
In Maria Bethânia's song "Sucesso Bendito", she speaks about the power of music and the impact it has on people's lives. She describes music as being an invisible force that spins through the night and illuminates life's joys, sorrows, truths, and lies. Bethânia recognizes how music has the ability to create gestures of love and make dreams come true. She discusses how a song is capable of helping us cope with the difficult times in our lives and how it can make life feel less burdensome.
The chorus of the song speaks about each new album being a chance for a new encounter, a moment for someone to find themselves and connect with the music. Bethânia acknowledges that success comes in many forms for different people, but at the same time, she celebrates the power music has to bring people together.
Overall, "Sucesso Bendito" is a song that touches on universal themes such as the ability of music to heal, create understanding, and promote connection. It is a celebration of the power of music to elevate our spirits and guide us through life's many challenges.
Line by Line Meaning
Um disco negro, invisível, na noite, gira
A black, invisible record spins in the night.
A solidão, a alegria, a verdade, a mentira
Loneliness, joy, truth, and lies.
Se iluminam por mim, por você, por nós, pela voz
They are illuminated by me, you, us, and the voice.
Quantos gestos de amor
How many gestures of love?
Nosso canto tornou possíveis
Our singing made them possible.
Como o canto é capaz
As singing is capable of
De ler sonhos os mais incríveis
Reading the most incredible dreams.
Quantas vezes a dor e o prazer
How many times pain and pleasure
Se fariam demais pra sofrer
Would be too much to bear.
Se não fosse a canção
If it weren't for the song.
Quantas vezes a vida seria
How many times life would be
Pesada demais pra batida do coração
Too heavy for the heartbeat.
Cada disco que sai
Every record that is released.
Entre um riso e um ai
Between laughter and sighs.
Buscando o momento de alguém
Looking for someone's moment.
Que se torne seu quem, seu plano
Who becomes their someone, their plan.
Se esse encontro se dá e porque
If this meeting occurs it's because
Eu não sei você vai saber
I don't know, you'll know.
Mas é muito bonito
But it's very beautiful.
E podemos dizer
And we can say
Que o sucesso assim será bendito
That success will be blessed like this.
Contributed by Parker S. Suggest a correction in the comments below.
@NeideGama
Sem querer questionar a genialidade de Caetano Veloso e dando crédito a quem o merece, nesse caso de fato, Mortal Loucura é um poema de Gregório de Matos Guerra em que o poeta aborda a fragilidade humana”. E se o humano é frágil, cabe a quem Deus deu o cuidado dos homens pregar a cura da mortal loucura: a usura, a cobrança pelo uso (indevido) das coisas de Deus. Daí o “cuidar de si”, sugerido no poema. “Quem não cuida de si, que é terra, ... erra” e, mesmo amados pelo “alto Rei”, devemos desaferrar os desejos terrenos e atar nossas vidas à vontade de Deus.
@joelmamartins588
Puxa! eu amei a letra dessa música e fui procurar no google pra saber se quem era, e olha a surpresa quando descobri a autoria: o brilhante e genial Gregório de Matos! Seu comentário foi excepcional! Que explicação perfeita...!
@mariadantas402
maravilhoso é bom gosto! !!!
@cdi8491
Concordo com você Joelma, é uma beleza!! Estou tentando compartilhar no face e não consigo, nem copiando e colando dá certo, será porque ?!?!??!
@kleciareis96
Eu consegui compartilhar!
@eduardobrigida2490
Neide Gama grato pelo seu olhar reconhecedor do mérito da composição desta belíssima obra.
@marildabarcellar2463
Isso mesmo. É um poema de Gregório de Matos Guerra. Poeta barroco
@joeljaime1
A Domingos Montagner, com carinho e respeito.
@milenasuzane
😔🙏
@anapaulaalves5697
Essa música tem uma mística, inexplicável...