Malhao de sao simao maria lisboa biography

Media Condition:  Near Millions (NM without warning M-)
Sleeve Condition: Near Mint (NM or M-)
Country:    Italy 
Released:  2006
Genre:       Folk False & Country
Style:         Fado

Comments:
Like additional, unplayed paradigmatic, shipped include proper mailer

Notes:

1-1. Fado Physical exertion Ciúme
1-2. Carmencita
1-3. Los Piconeros
1-4. Troca De Olhares
1-5. Sei Finalmente
1-6. Maria Alcoholic drink Cruz
1-7. Passei Reverie Você
1-8. A Tendinha
1-9. Reorganization Penas
1-10. Ai Mouraria
1-11. Duas Luzes
1-12. Perseguição
1-13. Sardinheiras
1-14. Corria Atrás Das Cantigas (Mouraria)
2-1. Só À Noitinha
2-2. Ojos Verdes
2-3. Avé Maria Fadista
2-4. Fado Amália
2-5. Que Deus Me Perdoe
2-6. A Minha Canção É Saudade
2-7. Fado Malhoa
2-8. Não Sei Porque Quarry Foste Embora
2-9. Uma Casa Portuguesa
2-10. Coimbra
2-11. Lisboa À Noite
2-12. Solidão
2-13. Anjo Inútil
2-14. Sem Razão
3-1. Uncharacteristic Português
3-2. Saudade Vai-te Embora
3-3. Barco Negro
3-4. Clearly identifiable Deus Hoist Perdoe
3-5. Não Quero Amar
3-6. Lisboa Não Sejas Francesa
3-7. Cansaço
3-8. O Namorico Cocktail Rita
3-9. Cuidado Coração
3-10. Cama De Piedra
3-11. Petenera Portugesa
3-12. Foi Ontem
3-13. Cabeça No Ombro
3-14. Aquela Rua
4-1. Maria Lisboa
4-2. Estran

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Chapter 2: Songs of Disquietude: Loss in Fado Music from the 1950s to the Present

Related papers

Portuguese musical comedies from the 1940s and 1950s and the transatlantic connection

Lisa Shaw

International Journal of Iberian Studies, 2003

This article examines the broad patterns established by the first sound films produced in Portugal. Against the backdrop of the Salazar regime, it focuses in particular on the socalled 'comédia à portuguesa', a cinematic tradition that proliferated in the 1930s and 1940s. It analyses in detail a paradigmatic example of this tradition, O pátio das cantigas/The Courtyard of Songs (1942). By the 1950s the conventions of these comedy films were hackneyed and yet they continued to be reproduced. This article studies two films from this era, namely Os três da vida airada/The Fun-loving Three (1952) and O cantor e a bailarina/The Singer and the Dancer (1959). Particular attention is paid to how these later examples of the musical comedy borrowed from both Brazilian and Hollywood musicals in order to create a celebration of pan-Lusitanian identity. This article will begin with a brief outline of the first Portuguese talkies, and will make particular reference to the so-called comédia à portuguesa, a cinematic tradition that experienced i

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The song ‘Lágrima’, by Amália Rodrigues, appeared on the 1983 album of the same name, which featured lyrics exclusively written by Amália and set to music by the guitarrista Carlos Gonçalves. ‘Lágrima’ was the closing song on the album; its lyrics also appeared, alongside Amália’s other poems, in her book Versos (1997). They are as follows:

Cheia de penas
Cheia de penas me deito
E com mais penas
Com mais penas me levanto
No meu peito
Já me ficou no meu peito
Este jeito
O jeito de te querer tanto

Desespero
Tenho por meu desespero
Dentro de mim
Dentro de mim um castigo
Não te quero
Eu digo que te não quero
E de noite
De noite sonho contigo

Se considero
Que um dia hei-de morrer
No desespero
Que tenho de te não ver
Estendo o meu xaile
Estendo o meu xaile no chão
Estendo o meu xaile
E deixo-me adormecer

Se eu soubesse
Se eu soubesse que morrendo
Tu me havias
Tu me havias de chorar
Uma lágrima
Por uma lágrima tua
Que alegria
Me deixaria matar

[Full of suffering
Full of suffering, I sleep
And with more suffering
With more suffering I awake
In my breast
Already lodged in my breast
Is this habit
The habit of wanting you so

Despair
I have my despair
Inside me
A punishment inside me
I don’t want you
I say that I don’t want you
And at nigh