Times are passing for everyone, also for fado, the most traditional of Portuguese music that is experiencing a renewal led by artists like Lina Rodrigues. With the help of Raül Refree, the fadista from Braganza has given it a twist by adding electronics to the melancholic traditional singing. A process of adaptation that continues with Fado Camões (Galileo music), a new album with which the Músiques Disperses festival in Lleida will open this Thursday (Teatre de l'Escorxador, 8 p.m.), with songs composed from the work of the Portuguese poet of the 16th century Luis de Camões, author of the famous Lusíadas, which demonstrate its relevance with a new musicality. Club Vanguardia members have a 2x1 offer on tickets to the festival, which will be held from March 14 to 17 with artists such as Luar na lubre, Judit Neddermann or Alba Careta and Henrio.
How was the idea of Fado Camões born?
I wanted to make an album with a concept other than just recording music that I like. I read Amália [Rodrigues]'s biography and saw that she really liked Luis Vaz de Camões, he was her favorite poet. I investigated his work in more depth to see if it was possible to unite Camões' poetry with traditional fados, and I came across his lyrics, not only the Lusíadas but also some works for theater, which have moved me very much. . The structure and theme of many Camões poems is the same as traditional fados.
Have you had to modify the original verses much?
Nothing, just the order so that the rhymes are appropriate for traditional fados, which have their own rules. I have also composed two songs for the first time, one of them is a poem that moved me a lot but it did not have an appropriate structure for a fado, so I made it myself. The other song talks about saudade, and it didn't have the appropriate structure either. Traditional fados have seven syllables or more, while Camões wrote with five verses.
Are Camões' poems still valid today?
His themes are very current, he asked a lot about the world, about himself, about the meaning of life, about what he discovered about himself and his emotions. He does not invent anything he writes, he talks about heartbreak, childhood, how to bear the loss of a loved one, it is truly current and the most important thing is that he moves me. I have talked to people who, if you don't tell them that those poems are from the 16th century, they don't notice.
Why did you want to work from a concept?
I intended to make a work, as if it were a book, a story from beginning to end that also included the musical part. I have had the collaboration of Justin Adams, who produced the album, and his friend John Bagot, who has collaborated with Massive Attack and Portishead. I wanted something similar to what I did with Raül, to feel free when I sing and give importance to noises, dynamics, textures, the piano and the Portuguese guitar, a very simple and beautiful instrument that is the identity of fado.
What was the composition process like?
It has been very important to sing a cappella and without any instrument, just the noises, then everything else has been added. I started pre-production in my house alone, I imagined what the album would be like song by song, I showed my ideas to Justin and he produced them adding what he wanted, he brought his influences from North Africa, from Egypt.
Do you usually compose songs a cappella?
On this album yes because I had the job of adapting Camões' verses to traditional fado, that's why I had to sing them first a cappella to feel how Camões' words would be heard in each song.
Were all these innovations in fado in your head before working with Raül Refree?
I have always liked to experiment, I don't identify with the purists but the meeting with Raül was the starting point to get to know myself, to know what I want. It's not just about adding electronics or drums, it has to make sense, excite, connect with the sensations I have when I listen to music, that tells me a lot.
Many artists bring new sounds to traditional music
With Raül we did something important with music, many purists who had worked with me on other albums told me that that was not good, that it was not fado, but today they have those same instruments in their projects. I don't know why they denied themselves, but I'm so glad they took that step. Ana Mora also does it, and Sara Correa, now there are many artists in fado who are including electronic music. But it is also very important to know where traditions come from, that is why it is very important that purists exist, so that we do not forget where we come from.
On this album he has collaborated with Rodrigo Cuevas
He is also a revolutionary, I love artists who have their own ideas and are not afraid to do what they feel. I already knew him because he has also worked with Raül Refree, we met at a concert in Lisbon.
What role do you give to the voice in your songs?
It is a way of communicating, a channel through which feelings come out, a gift that enters me and comes out through my mouth. But it has many more things, emotion, vibration, it is a way of communicating and reaching people's hearts. If you feel what you sing, whoever listens to you will feel what you do, and at the same time it is a way to give joy to many people who need it. People listen to music more when they are sad, it is a comfort, a way to hug people.
Is there a voice that you particularly like?
Sílvia Pérez Cruz has a very special way of singing, you can close your eyes and you feel every note, every vibration, every way of breathing.
What is the health of fado in Portugal?
It is fashionable, very strong. There are more and more young girls and boys who sing fado, who want to learn, and it is also very well received outside of Portugal, it is a musical niche that will never be lost.
You started singing very young, when you were only 10 years old.
I started at home with my father, he also sings Fado. When Amália died I was about 15 years old and I locked myself in my room to learn fados and sing like her, with hers flourishing from it, that's how I started. When I was ten years old I sang in an opera choir, I also have training in lyrical singing, I studied five years at the Porto music conservatory but I sang with my eyes closed and my teacher told me “this is not fado”. So I thought: I think I'm going to do what I have to do and sing what I want to sing.
Is there a lot of influence of Spanish music in Portugal?
We have many bridges, there are many collaborations with Spanish artists, we love it, I already have two with Rodrigo Cuevas and Raül Refree. It is important that music does not have political borders, that has always been a problem. Music has no borders or sex, it only has emotions.
