Mouskouri's family lived in Canée, Crete, where her father, Constantin, worked as a film projectionist in a local cinema. Her mother, Alice also worked in the same local cinema as an usherette. When Mouskouri was three, Constantin moved the family to Athens. Mouskouri's family worked extremely hard in order to send Nana and her elder sister, Jenny, to the prestigious Athens Conservatoire. Mouskouri had displayed exceptional musical talent from the age of 6. However her sister, Jenny, appeared to be more the more gifted of the two. In fact Mouskouri only had one 'working' vocal chord (rather than the normal two). This a rare condition gives her voice its particularly original timbre.
Mouskouri's childhood was colored by the Nazi occupation of Greece. Her father became part of the Nazi resistance movement in Athens. Mouskouri began singing lessons at age 12. Despite the flaw in her vocal cords, Mouskouri took singing lessons regularly. During the Nazi German occupation, her family no longer had the financial means to pay for her singing lessons. But her teacher saw that she had a certain talent and continued to give her lessons free of charge. As a child, she listened to radio broadcasts of American jazz singers such as Frank Sinatra, Ella Fitzgerald, and Billie Holiday as well as French chanson stars like Edith Piaf.
In 1950, she was accepted at the Conservatoire. She studied classical music with an emphasis on singing opera. The young Mouskouri committed herself into classical music studies with a passion, perfecting her vocals with extraordinary self-discipline as well as taking piano and harmony classes. After 8 years at the Conservatoire, Mouskouri was encouraged by her friends to experiment with jazz music. She soon began singing with her friends' jazz group at night and they even managed to get a radio slot. However, when Mouskouri's Conservatory professor found out about Mouskouri's involvement with a genre of music that he considered to be absolutely worthless, he flew into a fury and prevented her from sitting her end of year exams. Consequently, the Conservatoire expelled her. Mouskouri's dreams of becoming an opera singer were dashed.
Mouskouri left the Conservatoire and began performing at the Zaki club in Athens. She began singing jazz in nightclubs with a bias on Ella Fitzgerald repertory. It was at the Zaki in 1958 that Mouskouri met the famous Greek composer Manos Hadjidakis. Hadjidakis was immensely impressed by Nana’s original voice and immediately offered to write songs for her. He became her mentor. In 1959 Mouskouri performed Hadjidakis' Kapou Iparchi Agapi Mou (co-written with poet Nikos Gatsos) at the inaugural Greek Song Festival. The song won first prize, and Mouskouri began to be noticed. At the 1960 Greek Song Festival, she performed two more Hadjidakis compositions, Timoria and Kiparissaki. Both these songs tied for first prize. Mouskouri soon ventured further and participated at the Mediterranean Song Festival, held in Barcelona where she performed Kostas Yannidis' composition Xypna Agapi Mou. The song won first prize. Her wins attracted interest from several international record companies. Mouskouri wound up signed a recording contract with the Paris-based Philips-Fontana axis.
In 1961, Mouskouri performed the soundtrack of a German documentary about Greece. This resulted in the German-language single Weisse Rosen aus Athen ("The White Rose of Athens"). The song was originally adapted from a folk melody by Hadjidakis. It became an enormous hit, selling over a million copies in Germany. The song was later translated into several different languages and it went on to become one of Mouskouri's signature tunes. Mouskouri married Yorgos Petsilas in 1961. Mouskouri and Petsilas have two children, son, Nicolas born in February 1968 and daughter, Hélène born in 1970. In 1974, Mouskouri and Petsilas separated and she moved to Geneva, Switzerland. In 1975, Mouskouri and Petsilas were officially divorced.
In 1962, she met renowned American song producer Quincy Jones. Jones got her to go to New York to record an album of American jazz titled, The Girl From Greece Sings. Following that she scored another hit in the United Kingdom with My Colouring Book.
In 1963, she left Greece to live permanently in Paris, France. Mouskouri performed Luxembourg's entry in the Eurovision Song Contest that year, À Force de Prier. The song became an international hit, and helped win her the prestigious Grand Prix du Disque in France. Mouskouri soon attracted the attention of French composer Michel Legrand, who composed her two major French hits Les Parapluies de Cherbourg (1964) and L'Enfant au Tambour (1965).
In 1965, she recorded her second English-language album that was released in the United States entitled, Nana Sings. Jamaican-American Calypso musician Harry Belafonte heard and liked the album. Belafonte brought Mouskouri on tour with him through 1966. They teamed for a live duo album entitled, An Evening With Belafonte/Mouskouri. During this tour, Belafonte told Mouskouri to remove her signature black-rimmed glasses when on stage. She was so unhappy with the request that she wanted to quit the show after only two days. Finally, Belafonte relented and respected her wishes to perform with her glasses.
Mouskouri's 1967 French album Le Jour Où la Colombe ascended her to superstardom in France. This album featured many of her French songs, Au Coeur de Septembre, Adieu Angélina, Robe Bleue, Robe Blanche and the French pop classic Le Temps des Cerises. Her rendition of Guantanamera was very well received. Mouskouri made her first appearance at Paris' legendary Olympia concert theater in 1967, with a repertoire blending French pop, Greek folk, and Hadjidakis numbers.
In 1968, Mouskouri turned her attention to the British market and hosted a variety show called Nana and Guests. In 1969, she released her first full-length British LP, Over and Over. It became a smash hit that spent almost two years on the U.K. charts. Mouskouri spent much of the 1970s on the road which helped to broaden her worldwide popularity to levels. In France, she released a series of top-selling albums that included Comme un Soleil, Une Voix Qui Vient du Coeur, Vielles Chansons de France, and Quand Tu Chantes. She also recorded a successful version of Habanera, from Bizet's opera Carmen. She continued to release highly received albums in Europe, including her 1975 album Sieben Schwarze Rosen which was a significant success in Germany, and her English-language album Book of Songs that sold millions of copies worldwide.
In 1979, Mouskouri had another English-language album named Roses and Sunshine. This album was very well received in Canada. She scored a worldwide hit in 1981 with Je Chante Avec Toi, Liberté, which was translated into several languages after its widespread success in France. The momentum from this album also helped boost her following German album, Meine Lieder Sind Meine Liebe. In 1984, Mouskouri returned to Greece for her first live performance in her homeland since 1962.
In 1986, Mouskouri recorded Only Love, the theme song to a BBC TV series that went on to top the U.K. charts. The song was also a hit with its French version, L'Amour en Héritage. That same year, Mouskouri made a play for the Spanish-language market with the hit single Con Todo el Alma. The song was a major success in Spain, Argentina and Chile. She released five albums in different languages in 1987, and the following year returned to her classical conservatory roots with the double LP The Classical Nana (aka Nana Classique), which featured some of her favorite opera excerpts.
Mouskouri's 1991 English album, Only Love: The Best of Nana Mouskouri became her best-selling release in the United States. She spent much of the 1990s with her rigorous global touring schedule. Among her early 1990s albums were spiritual music, Gospel (1990), the Spanish-language Nuestras Canciones, the multilingual, Mediterranean-themed Côté Sud, Côté Coeur (1992), Dix Mille Ans Encore, Falling in Love Again: Great Songs From the Movies. Falling in Love reunited her with Harry Belafonte on two songs.
She recorded several more albums over 1996-1997, including the Spanish Nana Latina (which featured duets with Julio Iglesias and Mercedes Sosa), the English-language Return to Love, and the French pop classics, Hommages. In 1997, she staged a high-profile Concert for Peace at the Cathedral of St. John the Divine in New York. This concert was later released as an album, and aired as a TV special on PBS in the U.S.
Mouskouri was appointed a UNICEF Goodwill Ambassador in October 1993 [1]. She took over from the previous ambassador, American actress Audrey Hepburn. Mouskouri's first U.N. mission took her to Bosnia to draw attention to the plight of children affected by Bosnian war. She was deeply moved by her experience in Bosnia and went on to give a series of fund-raising concerts in Sweden and Belgium.
Mouskouri represented Greece in the European Parliament from 1994 until 1999 as a member of the largely conservative New Democracy party.
In 1993, Nana recorded a new album, Hollywood. It was produced by Michel Legrand. Hollywood was a collection of famous film songs. It served was not only a tribute to the world of cinema, but also as a personal reference to childhood memories of sitting with her father in his projection room in Crete.
Between December 11-14, 1997, Mouskouri gave four triumphant performances at the Olympia in Paris to celebrate the 40th anniversary of her singing career. Also in 1997, Mouskouri resigned from her position as a European MP. She explained that a fervent pacifist, she refused to back wars.
Mouskouri currently lives in Switzerland with her second husband, André Chapelle whom she married on January 13, 2003. She still performs about 100 concerts each year. In 2004, her French record company released an unprecedented 34-CD box set of more than 600 of Mouskouri's mostly French songs.
For 2005 and 2007, she plans a farewell concert tour of Europe, Australia, Asia, South America, the United States, and Canada. During an interview with The Australian newspaper, when asked why this would be her final concert series, Mouskouri said she wanted to retire on a high note. "I never thought that I would grow that old. It is better really to stop while you are standing well on your feet. I just want to be proud and in very good form and thank the audience for all this love," she said.
Une île
Nana Mouskouri Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Une île sans âme ni bateau
Inculte un peu comme une insulte
Sauvage, sans espoir de voyage
Une île, une île entre le ciel et l'eau
Ce serait là face à la mer immense
Là sans espoir d'esperance
Toute seule face à ma destinée
Ce serait là dans ma propre défaite
Toute seule sans espoir de conquête
Que je saurais enfin pourquoi
Je t'ai quittée moi qui n'aime que toi
Une île comme une cible d'or
Tranquille comme un enfant qui dort
Fidèle, à en mourir pour elle
Cruelle, à force d'être reine
Une île, une île, comme un enfant qui dort
Ce serait là face à la mer immense
Là pour venger mes vengeances
Toute seule avec mes souvenirs
Plus seule qu'au moment de mourir
Ce serait là au cœur de Saint Hélène
Sans joie, sans amour et sans haine
Que je saurai enfin pourquoi
Moi qui n'aime que toi
Une île entre le ciel et l'eau
Une île sans âme ni bateau
Inculte un peu comme une insulte
Sauvage, sans espoir de voyage
Une île, cette île, mon île
C'est toi, c'est toi, c'est toi
The lyrics of Nana Mouskouri's song "Une île" depict the concept of isolation and longing for a lost love. The idea of an island is used as a metaphor for this feeling of being detached from the world and stranded in one's own emotions. The island is described as being suspended between the sky and water, emphasizing its solitary existence.
The first paragraph describes the island as void of life and any means of escape. It is characterized as uncultivated and wild, representing a hopeless and unattainable destination. The use of the word "insulte" suggests a sense of rejection or abandonment, accentuating the feeling of desolation.
In the second paragraph, the island is portrayed as a peaceful haven, akin to a sleeping child. However, it is also described as cruel, suggesting that despite its tranquility, it can be unforgiving and unyielding. The island becomes a symbol of devotion and loyalty, even to the point of self-sacrifice. It represents a place where one's innermost desires and emotions are exposed.
The third paragraph reinforces the theme of isolation, as the singer imagines being alone on the island facing the vast sea. The mention of "vengeances" indicates a desire for retribution or justice, perhaps regarding past hurts or betrayals. The island becomes a setting for reflection and introspection, where memories and regrets are kept company. It symbolizes a place of introspection and confrontation with one's own emotions.
In the final paragraph, the repetition of the line "c'est toi" emphasizes the personification of the island as a lost love. The island is no longer just a physical space but has become a representation of the beloved person who was left behind. The singer yearns to understand why they left this person who they love so much and why they now feel so alone. The island serves as a metaphorical mirror, allowing introspection and self-discovery in the face of longing and regret.
Overall, the lyrics of "Une île" beautifully convey a sense of isolation, longing, and introspection through the imagery of an island. The island acts as a metaphor for the singer's emotional state, reflecting their longing for a lost love and their need to understand their own choices and feelings.
Line by Line Meaning
Une île entre le ciel et l'eau
An island between the sky and the water, symbolizing a place of isolation and detachment from the rest of the world.
Une île sans âme ni bateau
An island devoid of life and any means of escape or connection with the outside world.
Inculte un peu comme une insulte
Untamed and untouched, like an insult to civilization and human progress.
Sauvage, sans espoir de voyage
Wild and desolate, with no hope of embarking on a journey or exploration.
Une île, une île entre le ciel et l'eau
Repeated line emphasizing the island's solitary nature, caught in between the vastness of the sky and the water.
Ce serait là face à la mer immense
Being there, facing the immense sea, highlighting the feeling of being small and insignificant in the face of nature's vastness.
Là sans espoir d'esperance
There, without any hope of hope, suggesting a sense of resignation and despair.
Toute seule face à ma destinée
Completely alone, confronting one's own destiny, emphasizing a sense of solitude and acceptance of one's fate.
Plus seule qu'au cœur d'une forêt
Even more alone than in the heart of a forest, emphasizing the profound isolation and loneliness experienced.
Ce serait là dans ma propre défaite
Being there, in one's own defeat, signifying a place of surrender and acceptance of personal failures.
Toute seule sans espoir de conquête
Completely alone, without hope of conquering or achieving anything, highlighting a sense of resignation and lack of ambition.
Que je saurais enfin pourquoi
Only then would I finally know why, indicating a desire for self-discovery and understanding.
Je t'ai quittée moi qui n'aime que toi
I left you, myself, who only loves you, expressing regret and longing for the lost love.
Une île comme une cible d'or
An island like a golden target, representing a desired and cherished place.
Tranquille comme un enfant qui dort
Peaceful like a sleeping child, symbolizing a state of serenity and innocence.
Fidèle, à en mourir pour elle
Loyal to the point of being willing to die for her, portraying a deep and unwavering devotion.
Cruelle, à force d'être reine
Cruel through the very act of being queen, suggesting that the island's power and authority can lead to harshness and oppression.
Une île, une île, comme un enfant qui dort
Repeated line emphasizing the island's tranquility and innocence, reminiscent of a peaceful slumbering child.
Ce serait là face à la mer immense
Being there, facing the immense sea, once again emphasizing the insignificance of the individual in the face of vast nature.
Là pour venger mes vengeances
There, to seek revenge for my past grievances, portraying a desire for retribution and justice.
Toute seule avec mes souvenirs
Completely alone with my memories, underscoring a sense of solitude and nostalgia.
Plus seule qu'au moment de mourir
Even more alone than at the moment of death, highlighting the profound isolation experienced in life's final moments.
Ce serait là au cœur de Saint Hélène
Being there, at the heart of Saint Helena, alluding to the remote and desolate location where Napoleon Bonaparte was exiled, representing a state of isolation and captivity.
Sans joie, sans amour et sans haine
Without joy, without love, and without hate, depicting a state of emotional emptiness and detachment.
Que je saurai enfin pourquoi
Only then would I finally know why, once again expressing the longing for self-discovery and understanding.
Moi qui n'aime que toi
Me, who loves only you, highlighting the depth of love and attachment to a specific person.
Une île entre le ciel et l'eau
An island between the sky and the water, a repetition of the first line, emphasizing the theme of isolation and detachment.
Une île sans âme ni bateau
An island devoid of life and any means of escape, once again emphasizing the sense of isolation and detachment from the outside world.
Inculte un peu comme une insulte
Untamed and untouched, likened to an insult to civilization and progress, reinforcing the idea of being separate from societal norms and advancements.
Sauvage, sans espoir de voyage
Wild and desolate, with no hope of embarking on a journey, echoing the theme of being trapped and disconnected from the possibilities of exploration and adventure.
Une île, cette île, mon île
An island, this island, my island, emphasizing a personal and possessive connection to the isolated place, suggesting a deep emotional attachment.
C'est toi, c'est toi, c'est toi
It is you, it is you, it is you, expressing that the island represents a specific person or love interest, reinforcing the emotional significance and longing associated with it.
Lyrics © Sony/ATV Music Publishing LLC, P.E.S.L (Productions et Editions Serge Lama)
Written by: Serge Lama, Yves Gilbert
Lyrics Licensed & Provided by LyricFind
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