60. From Lisbon to Rio

When studying the history of 19th-century music, we encounter the concept of “national schools,” among which the Czech (with Bedřich Smetana and Antonín Dvořák), the Russian (with the “Mighty Handful”), and the Norwegian (with Edvard Grieg) are most frequently mentioned. But in the late 19th and early 20th centuries, it was not only members of these communities who sought to free themselves from dominant influences – primarily German ones – that had been strong since at least the time of Ludwig van Beethoven. In Europe, the French, English, Spanish, and Portuguese were also seeking their own artistic identities, and the trend spread across the Atlantic to the United States and Brazil. Among these regions, the music of Portuguese-speaking cultures is perhaps the least known in Poland, and the concert by Raquel Camarinha and Yoan Héreau may serve as a good introduction to it. The concert features works by the most famous Brazilian composers, such as one of the movements from the Petizada (Troupe of Naughty Boys) suite – inspired by children’s games – by Villa-Lobos, and Jobim’s song Chega de saudade, with lyrics by de Moraes. Its title includes one of the most important words in the Portuguese-speaking cultural sphere – saudade – which denotes a feeling that is difficult to translate, blending melancholy with a touch of serenity. Saudade and Portugal are also associated with fado, a bittersweet form of singing accompanied by an instrument, a genre that often addresses difficult themes such as jealousy, betrayal, and revenge. Camarinha and Héreau chose songs by the genre’s biggest star, Amália Rodrigues – specifically, Meu amor and Maria Lisboa, both written by Alain Oulman. Alongside these hits, they included music by artists who are less well-known to us.

– Dominika Micał (pisanezesluchu.pl)