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.
Teresinha
Maria Bethânia Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Trouxe um bicho de pelúcia, trouxe um broche de ametista
Me contou suas viagens e as vantagens que ele tinha
Me mostrou o seu relógio, me chamava de rainha
Me encontrou tão desarmada que tocou meu coração
Mas não me negava nada, e assustada, eu disse não
O segundo me chegou como quem chega do bar
Trouxe um litro de aguardente tão amarga de tragar
Vasculhou minha gaveta me chamava de perdida
Me encontrou tão desarmada que arranhou meu coração
Mas não me entregava nada, e assustada, eu disse não
O terceiro me chegou como quem chega do nada
Ele não me trouxe nada também nada perguntou
Mal sei como ele se chama mas entendo o que ele quer
Se deitou na minha cama e me chama de mulher
Foi chegando sorrateiro e antes que eu dissesse não
Se instalou feito um posseiro dentro do meu coração
The song Teresinha by Maria Bethânia tells the story of a woman who is approached by three different men, each one with a different approach and outcome. The first man is introduced with a gift from a florist, a stuffed animal and an amethyst brooch. He tells her about his travels and shows her his watch, calling her a queen. She is caught off guard and touched by his charm, but she ultimately turns him down. The second man arrives with a bottle of bitter liquor and starts interrogating her about her past. He searches through her belongings and calls her a lost soul. Although he scratches her heart, she still refuses his advances. The third man shows up out of nowhere, giving her nothing but calling her a woman and crawling into her bed. He slyly takes over her heart before she has time to reject him.
The lyrics of this song are infused with a sense of vulnerability and confusion as the singer encounters three different types of men. Each represents a different personality, offering gifts, criticism or silence. The first one is charming and seductive, but he expects something in return for his attentions. The second one is aggressive and invasive, making the singer feel exposed and vulnerable. The third man is a mystery, but she finds something attractive about his boldness. Ultimately, the song reflects the challenge of finding the right kind of love, and the risk and reward that comes with every encounter.
Line by Line Meaning
O primeiro me chegou como quem vem do florista
The first one came to me as if he were coming from the florist
Trouxe um bicho de pelúcia, trouxe um broche de ametista
He brought a stuffed animal, he brought an amethyst brooch
Me contou suas viagens e as vantagens que ele tinha
He told me about his travels and the advantages he had
Me mostrou o seu relógio, me chamava de rainha
He showed me his watch, he called me queen
Me encontrou tão desarmada que tocou meu coração
He found me so defenseless that he touched my heart
Mas não me negava nada, e assustada, eu disse não
But he didn't deny me anything, and frightened, I said no
O segundo me chegou como quem chega do bar
The second one came to me as if he were coming from the bar
Trouxe um litro de aguardente tão amarga de tragar
He brought a liter of bitter brandy
Indagou o meu passado e cheirou minha comida
He inquired about my past and smelled my food
Vasculhou minha gaveta me chamava de perdida
He rummaged through my drawer, called me lost
Me encontrou tão desarmada que arranhou meu coração
He found me so defenseless that he scratched my heart
Mas não me entregava nada, e assustada, eu disse não
But he didn't give me anything, and frightened, I said no
O terceiro me chegou como quem chega do nada
The third one came to me as if he came out of nowhere
Ele não me trouxe nada também nada perguntou
He didn't bring me anything nor did he ask anything
Mal sei como ele se chama mas entendo o que ele quer
I hardly know his name, but I understand what he wants
Se deitou na minha cama e me chama de mulher
He lay down in my bed and called me his woman
Foi chegando sorrateiro e antes que eu dissesse não
He was sneaking up on me, and before I could say no
Se instalou feito um posseiro dentro do meu coração
He settled in like a squatter in my heart
Contributed by Madelyn A. Suggest a correction in the comments below.
Carmen Pires
Musica Linda e triste também
Ao ouvi _la ê difícil não chorar 😢❤
Margarida Aguiar Rocha
O meu terceiro que chegou após ficar viúva, foi meu namoradinho no grupo escolar,chegou para me resgatar se instalou sorrateiro na minha vida e estamos vivendo hoje o melhor do amor maduro e consciente ,me chama por minha gata, minha mulher, minha rainha ,minha esposa
ACREDITEM O AMOR EXISTE E PODE NOS SURPRIENDER ...amo esta canção.
Vitoria Odis
@margaridaaguiar: " Tomara que o nome dele não seja PAULO.... Kkkkkkkkkk
carlos alberto
O GRANDE MOMENTO DE MARIA BETHÂNIA A SIMPLESMENTE MARIA.
Ruth Martins Schubert Souto
Esses terceiros que chegam, como quem chega do nada, se instalam feito posseiros nos corações…. também saem, sorrateiros, sem nada dizer, sem nada perguntar…
Levy Asaph dos Anjos Xavier
Este comentário, talvez, seja mais profundo do que a própria canção, e mais cheio de verdades.
Helena Pestana
kkkkkk Do mesmo jeito que chegam saem, qd ñ deixam uma raiz atrás de si para sofrer Tb.
Ana Flávia
Kkkkk... verdade o terceiro e difícil.
Simone de Paula
Nem sempre, moça. Às vezes ficam para sempre. 😊❤
Leonardo Alves
Sim kkkkk o terceiro é o típico malandro cafajeste. Ele te conquista com o charme, tem pegada, vc apaixona e ele some.