Fado, by New York Times

(A fadista Ana Moura, por Ruth Fremson/The New York Times)

O fado, e a magia especial da voz das fadistas, em destaque no suplemento musical do New York Times. Deixo um excerto do artigo, que pode ser lido na íntegra aqui.

IN the beginning was Amália Rodrigues. That singer so dominates the modern history of the fado, Portugal’s soulful, guitar-based national song style, that during a 60-year career brought to an end only with her death in 1999, her name became virtually synonymous with the genre, leaving precious little room for others to flourish.

But during the past decade or so there has been an explosion of new voices, most of them female, as well as the renovation of a genre that had come to seem hidebound and resistant to change. A so-called novo fado, or new fado, movement has catapulted the genre into the 21st century, opening a space for bold experiments with repertory, instrumentation and ways of singing.
Outside Portugal the fadista (as a practitioner of the genre is called) most evident of late is the 31-year-old Ana Moura, whose smoky contralto has drawn the attention of the Rolling Stones and Prince and who has just released a live CD called “Coliseu.”

At home, though, she is just one of a bumper crop that includes Mísia, Mariza, Mafalda Arnauth, Dulce Pontes, Cristina Branco, Joana Amendoeira, Raquel Tavares, Yolanda Soares and Kátia Guerreiro.

“We all have one thing in common, and that is the desire to renew the fado,” Ms. Moura, who will tour California and Canada this summer, said during an interview in New York. “This curiosity of young people for the fado is all very recent, and I think it can best be explained by this new approach to an old music that all of us have adopted.”
Fado, which means fate or destiny in Portuguese, dates to the 1820s and began, as Mariza said in a telephone interview, “as the music of a port, a place where mixtures take place, with sailors bringing influences from Brazil, Africa, the Arab world and even China” to the bars, taverns and bordellos they frequented. From the beginning the essence of the music was contained in the word saudade, which Portuguese speakers claim is untranslatable but which can be rendered as longing, yearning, nostalgia or melancholy.