Mariza Canta Amália

Mariza

Erschienen am 29.01.21 bei Parlophone Portugal
Künstler: Mariza
Genre: Fado

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With Mariza Canta Amália, the career of the contemporary singer comes full circle. Mariza was introduced to Amália Rodrigues' work as a teen by her father. He heard something in the grain of his daughter's voice that recalled the quality of the diva's. When Rodrigues passed in 1999, Mariza was invited to sing the great fadista's tribute on national radio, instantly endearing her to hundreds of thousands of grief-ridden fans. Since then, Mariza has captured not only her adopted country's devotion with awards, multi-platinum albums, and sold-out concerts, but the world's too. She has explored musical paths contiguous to fado, from Cape Verdean mornas, to Brazilian samba and MPB, to bulerías and tangos -- as did her iconic predecessor. Though she has performed songs affiliated with Rodrigues throughout her career, this set marks the first time Mariza has delivered an entire album of her songs. She turned down several previous opportunities because she felt she wasn't yet mature enough as a vocalist. This set celebrates the centenary anniversary of Rodrigues' birth. Mariza re-teams with Brazilian arranger/cellist Jaques Morelenbaum, who produced 2005's wonderful Transparente. She invests these ten impeccably recorded fados with a skill that balances reverence with invention. At 46, Mariza's voice has deepened a tad, but it's richer in tone and expression -- yes, she can still hit the operatic high "C's" effortlessly. Among the highlights are the seemingly autobiographical "Foi Deus," where Mariza, like her predecessor, makes a convincing case she was doomed to become a fadista. There are readings of tracks from Rodrigues' classic Busto album in 1962: "Estranha Forma de Vida" is rendered almost a blues, appended by dramatic strings, lonesome guitar solos, and a brooding piano. "Povo Que Lavas No Rio" commences as a tango but is carried sadly by layered guitars and mournful cellos into the heart of fado's heartbroken shadows. Mariza renders "Formiga Bossa Nova" as if it were a selection on Tom Jobim's Stone Flower album for CTI, yet retains the sultry, sexy, joy from Rodrigues' 1970 version. It took courage to cut "Lágrima," one of Rodrigues' late-career hits from 1983. Morelenbaum's chart juxtaposes a full string section with lyric pianos and guitars stretching waltz time to the breaking point. Mariza goes inside the lyric and melody and emerges with a story pregnant with romantic possibility. On Mariza Canta Amália, the fadista accomplishes the near impossible. Essentially a program of Rodrigues' greatest hits, Mariza offers a tribute that reflects not only the passion and discipline of her subject but her genius and sophistication as well. Mariza experiments throughout with form, time, and texture. Her inventions and homages underscore a core career belief that she shares with Rodrigues: that fado is the one music eternally capable of embodying and enriching almost all others without losing its own soul. In sum, Mariza Canta Amália is sublime, offering a completely realized portrait of fado's most iconic persona through the skill and heart of its current reigning queen.
© Thom Jurek /TiVo

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Mariza Canta Amália

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