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 Adriano Correia de Oliveira “was a man of great sensibility, a man of commitment”. Such is the way that Anthropologist and personal friend, Louzã Henriques, remembers him. “He was a good person, deeply tied to his friends, who lived in an artistic bohemia, brought on by his time in Coimbra, which further manifested itself in Lisbon”.
Born in Porto and raised in Avintes, Adriano reached Coimbra in October of 1959 to study Law, at the age of 17, in a time of auspicious social revolution. Years prior, in the 50’s, in the post-war era, society was greatly marked by strong repression. Only the Presidential electoral movement of Humberto Delgado (1958) would come as “a gust of fresh air”. Now, “the country seemed to mobilize itself throughout, people seemed to have lost any apprehensions they may have had of speaking out”, says Louzã Henriques. Right around this time, “a certain type of music, with ballads, certain types of literature and art”, all began to arise, “factors that would influence the way the world thought”. All of this reached Coimbra…
In the city of students, Fado was going through a time of change, due to the contributions of singers like Edmundo Bettencourt (founder of Presença, eventually becoming a legend for composing and interpreting the song of Coimbra) or Artur Paredes. But Adriano was influenced thanks to the “Golden Generation” of Fernando Machado Soares, which enticed the renewal of Coimbra’s distinct Fado. “There was a profoundly dynamic and intense ideological movement, favorable to change” the anthropologist recalls.
In 1959, the then Law student enrolled as the first tenor in the Academic Chorus and, inevitably, became one of the voices of Coimbra’s Fado. Academia and the city propelled Adriano on to new intellectual horizons. It is there that he eventually came into contact with the problems of his generation. Problems of the youth, who were on a collision course with the regime. In the 60’s, Adriano participated in University Clubs such as, Regional Dances of The Academic Association of Coimbra, and The Theatrical Instruction of Coimbra University (CITAC), where he performed in various pieces.
While in Coimbra, at first, he lived in a student dormitory. In the academic year of 61/62 he transferred to the Law Department at the University of Lisbon, only to return to The University of Coimbra the following year. Adriano lived in what became known as the “Republica Rás-Te-Parta”, a “nest” of democratic activists, which in 1963 became the headquarters of the Democratic Body, which ran in the elections hosted by the Republican Counsel for the Academic Association.
“In those times, Republics were “Temples” of artistic assembly. Influences that were spreading the world over, reached Coimbra, and even the tensions that were still being created by the political environment in Portugal. Debates became common place”, recalls Louzã Henriques. “The Republics, the cafés and the masses of society, in this case especially Academia, would offer a plethora of experience, in terms of art, and social justice, affirming Academia’s power, enticing what would become a revolution of intellectual order” recalls Louzã Henriques.
Between 1960 and 1980, Adriano recorded 90 tracks, leaving behind one of the most beautiful works of the second half of the century. Just like other musicians in Portugal, and those who had been exiled, Adriano Correia de Oliveira used music as a tool of intervention. “Trova do Vento que Passa” a track written by Manuel Alegre and sung by Adriano, became an unparalleled iconic reference, that lead the way as an interventionist song against the fascist regime in Portugal, becoming the anthem in the student movement.
Adriano would go on to move from Coimbra to Lisbon, despite having only one course left to get his Law Degree. He would go on to work at the Press Cabinet for the Industrial Fair of Lisbon (FIL) and would later become producer of the Editorial “Orfeu”.
Adriano passed away in Avinte, on October 16, 1982, at the age of 40 due to an esophageal hemorrhage, he was accompanied in his last days by guitarist Paulo Vaz de Carvalho (A professor at the University of Aveiro), who played a fundamental role at the time. “He was very rigourous, an excellent artist and friend” the professor recalls.
Adriano never forgot Coimbra, and upon his many visits, he was always a guest at the house of friend Louzã Henriques. The professor, who was arrested due to his opposition to the regime, spent 4 years in prison at Peniche. During this time he was not able to accompany the scholastic life of Adriano, but the friendship that would come years later, lasted until the end of Adriano’s days. Today, when speaking of his comrade, Louzã Henriques doesn’t hide his longing.
“He was a very strong individual, for singing certain things during that time. He would affirm himself in the songs he sang, in a time when there was a grave repression” The professor says. Even so, “he always faced that repression with great courage. He wasn’t a man of basic politics. He was a man that knew exactly what he wanted, and what he fought for. He was born to be free and to be an artist”.
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 If there was a ever a fadista (fado singer), that undoubtedly put a stamp on the history and evolution of fado, it was Alfredo Duarte, marceneiro (master carpenter) by trade and Marceneiro as he would be known on stage. His long career spanned practically the entire 20th century, and accompanied all the different phases that the genre would go through, from the neighborhood dances, to the cafés, to the fado houses, and eventually on to recorded albums. Some of the genre’s most classic and acclaimed compositions came from Marceneiro, despite him not being a composer, or even having a musical education.
Alfredo Duarte was truly a master carpenter, a trade that we was forced to learn at the age of 14 following the death of his father. Marceneiro was born in Lisbon in 1892, son of a shoemaker, he had a certain attraction to performing, and he liked to learn about music, a trait he inherited from his mother. His voice was already being recognized at some turn of the century carnivals, popular at the time. He had to sustain the family however, so he became an apprentice to a book binder, by chance this was the same office where fellow fadista Júlio Janota worked as well. His choice to become a master carpenter came later, understanding that the work of a book binder wouldn’t allow him the time he desired to perform at the neighborhood dances where he could freely explore his passions for music and fado. In those days, anyone who had some sort of ability or passion for singing, was at will to sing at the neighborhood dances, and it was here that Marceneiro began to distinguish himself, even though he didn’t consider himself to have a good voice. Contrary to the professional fadistas, who had the luxury of having compositions written for their specific repertoire, the amateurs interpreted verses that were published in the various fado magazines that existed at the time, run by famous singers like Carlos Harrington and composer Linhares Barbosa.
Marceneiro was initially recognized by Alfredo Lulu because of his fashion choices (he would sing with a bow tie, instead of the traditional tie, that would later be substituted by a silk scarf which became his trademark), only in the 20’s did the fadista start to get recognized artistically as Marceneiro, a time when his reputation was increasing in the area. He no longer limited himself to neighborhood dances or “desgarradas” (unrehearsed freestyles); he was also a presence at the celebrated cafés, (that he would later recall in one of his best creations) and at one of the first fado houses, “O Catorze do Rato” (The Rat 14), where he was noticed by poet Manuel Soares, who would write some of his first lyrics.
In 1924 he received his first professional contract brought him to “Chiado Terrasse”. Despite the contract, his compensation was only a free dinner, reflecting back on the fadista tradition which brought the singers to sing merely once or twice per week, so as to not deprive their colleagues of work, allowing them to only work their repertoire, and no one else’s. Nearly all of the singers had day jobs in order to get by, because in those days artist rights and royalties didn’t exist, and a fadista couldn’t live off of the money they would earn on the nights they performed. It was a time of true love, where fadistas sang with passion, not thinking of fame or money; this was a time dated by the “desgarradas” (unrehearsed freestyles) and “Cantares ao desafio” (often unrehearsed challenges) brought on by the friendly “wars” between artists, which would often define their qualities and reputations. That environment eventually changed with the implementation of typical fado houses, which popularizing the music and Marceneiro. He would also be invited to sing at theatrical reviews beginning in 1930.
in “Lisboa no Guiness” by Victor Marceneiro
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 Amália da Piedade Rodrigues was born into a big but poor family from the Beira Baixa region, which tried its luck in Lisbon. After a short time, her parents went back to the countryside and left Amália, 14 months old at the time, to live with her maternal grandparents.
My family told me that at the age of 4 I was already earning a living by singing, the neighbours used to say, " Amália come here, sing this one". And I sang. * At about the age of about 7, 8 years old I started to hear the neighbours singing fado while washing their clothes, at that time I didn’t know what fado was. After when I was 12 years old, already international, I started singing Gardel’s tangos, which I heard on tape. I used to come home without knowing what I was saying, but I listened to the sounds, and I sang the words just as I heard them, or similarly, because in the end as you know, the Spanish language is very similar to ours. But, for a person that has a good ear and a good deductive sense, it is much easier than one that does not have a good ear or that sense. So, I almost immediately learned the words and then sang all of Carlos Gardel.
Amália started primary school in Lisbon. It is during her years at primary school that she sang for the first time in public, at a school party of the Tapada da Ajuda.
At the age of 14, Amália goes to live with her parents and siblings, which in the mean time have returned to Lisbon. In very poor conditions, Amália, who barely knows her family, feels a great difficulty in integrating, always feeling like an intruder.
At the age of 15, Amália – accompanied by her mother and sister – goes to the Rock Piers, in Alcântara, to sell fruit. She spent two years at the piers. During this time she becomes known in the neighbourhood for the special tone of her voice, which is what leads her to be chosen as soloist of the Marcha de Alcântara, her grand debut being in 1936 in the streets of Lisbon. The popular marches or parades always hold a place in Amália’s repertoire.
The leader of the Marcha insists that Amália compete in the Spring Contest, organized to discover a new singer. At this contest Amália meets Francisco da Cruz , an amateur guitarist with whom she marries in 1940. However, the marriage doesn’t last more than two years. It is also during this time that she is noticed by an assistant who recommends her to Jorge Soriano, director of the most famous fado house of the time, Retiro da Severa. The audition is a success, but, her family is against it and Amália ends up not accepting the invitation.
She finally plays at Retiro da Severa, in 1939, accompanied by Armandinho, Jaime Santos, José Marques, Santos Moreira, Abel Negrão and Alberto Correia, interpreting three fados.
The news of her success at the Retiro da Severa starts spreading throughout all o Lisbon—everyone wants to listen to this new singer, all of the fado houses want to hire her.
Amália rapidly becomes a headliner. In only a few months time, Amália starts singing at the Solar da Alegria and Café Luso. Up until then, Ercília Costa, Berta Cardoso, Hermínia Silva and Alfredo Marceneiro were the fado idols, but with Amália’s appearance everything changes.
Amália quickly becomes the most famous name of all the fado idols. Wherever she performs the tickets sell out, the prices of tickets increase as soon as she is mentioned. In only a few months she reaches such popularity that her cachet is the highest ever paid to a fadista.
Her success grows so fast at the fado houses that she is shortly called to do theatre. She debuts in 1940 in the show "Ora Vai Tu", at Maria Vitória theatre.
1941-43
Amália changes to the Solar da Alegria, as the exclusive artist, already with her own repertoire. It is at the Solar da Alegria that she joins José de Melo who becomes her manager, and who also tries convincing her not to make a record by telling her that if people are able to listen to her at home that they will no longer need to go to the fado houses.
First, at the Retiro de Severa she earned 500 escudos per month. After, at the Solar da Alegria she earned 800. Amália says, “It was when I was earning this salary that Mr. José de Melo told me”:
"How much do you earn here?"
"I earn 800 escudos per month"
"Don’t you see that you are being exploited?"
"Why?"
"Don’t you see that when you are not performing they charge 2$50 per ticket and the place doesn’t fill up and when you perform the tickets cost 7$50 and the place is full to capacity! They are exploiting you!! You need to go home, and whoever wants to hire you needs to come and talk to me at Café Lagar because the money that you are earning per month, I can guarantee, will be the money you earn per performance!"
“Ah, I thought he was crazy!! But, I really did go home, and the Solar da Alegria started calling. “I’m not going anymore, I don’t want to perform there anymore, go talk to Mr. José de Melo, at Café Lagar between 5 and 7”. Then, I started, a month later, earning 300 escudos per day, then after about two or three months I was earning one conto per show.”
“I had a better repertoire; I started buying songs, which at that time were bought at 30 escudos per song. The fado poets wrote and sold the songs, that was how they earned a living. * Linhares Barbosa was the best fado poet during that time, even so, there were times that I would buy thirty lines of his poetry and only use about 3. I was already more demanding than most people.”
Until 1947, Amália appears in various magazines and operas, creating fados and songs of great success in the theatre, and winning over an even larger audience. It is at the theatre that she meets composer Frederico Valério. Valério understands that the fado melody is too straight for a voice with such extension and therefore restructures songs that will always be a part of Amália’s repertoire.
Amália is invited by producer António Lopes Ribeiro to take part in the film “O pátio das cantigas”, but make up artist António Vilar says that she is not photogenic and her role ends up being given to Maria Paula. She shows in the Variedades theatre review “Espera de Toiros”, next to Mirita Casimiro, Vasco Santana and Santos Carvalho.
Amália performs for the first time abroad, in Madrid, invited by Ambassador Pedro Teotónio Pereira. It is because of this trip that Amália says she owes her pleasure to Spanish music and flamenco.
1944-48
Amália already has a prominent role, next to Hermínia Silva, in the opera “Rosa Cantadeira”, where “Fado do Ciúme” by Frederico Valério was created. The debut was at “Teatro Apolo” in April, the opera lasted for two months.
In September 1944, Amália arrives in Rio de Janeiro accompanied by maestro Fernando de Freitas to perform in the most famous casino in South America: Casino Copacabana. At 24 years old Amália debuts in a show that was created entirely for her. It was such a success that her initial contract of 4 weeks was extended to 4 months.
“It was a very interesting reception. There was an orchestra, and I had to sing 2 fados with the orchestra and the others with guitars. I was with Freitas, Girão’s father, poor man already passed away, and then the musicians all started: "Oh, my mother, my mother," and I said "Ahhh, Freitas, I won’t sing, you play the melody where I would normally sing". And that is what happened. I only sang on the opening day, but after I got there, and before I sang, the person that was in charge of the show said, "say everything that you can”. And there I was, afraid, of this new place, of the pomp of the Golden Room, the most chic thing in Rio, in Brazil.”
“So I went down the stairs, get to the microphone, (sings) "Sei finalmente ...”. I was completely scared, almost asphyxiated. But since I was so well dressed, my presence was very interesting, and then I started to sing the second and then the third and I sang and sang and sang. Then at the end was Atalaia, the General Director of the Casino, seated at a table with a bottle of champagne, the best there was, he called me to his table and congratulated me.”
“He took me to his table, I had already changed clothes, and he was congratulated again and again, "Congratulations, Mr. Atalaia the performance was wonderful, Congratulations", and in reality it was an enormous hit.”
It was such a big hit that six months later, the Casino Copacabana invited Amália for another season. This time they asked her to be accompanied, besides the musicians, some dancers, with intentions of putting on a show to take around all of Brazil.
For this long stay in Brazil, Amália brought conductor Frederick Valério along as conductor of the orchestra. It is in Rio de Janeiro that she had some of her greatest successes, for example, "Ai, Mouraria" that Amália debuts in the Republic of the Rio theatre in 1945.
Amália records a series of albums for the first time, in Rio de Janeiro. These are recordings that will carry her voice across the world and launch one of the most exceptional careers. Now back in Lisbon in 1946 there is much talk of a call that 20th Century Fox made to Amália, asking her to film in Hollywood. However, her film debut would be in Portugal.
In May 1947, the film "Capas Negras" debuts, which marks Amália’s debut in the film industry and beats all previous records. At her side is Alberto Ribeiro.
"Capas Negras" showed for 22 weeks, becoming the most successful Portuguese film of all time. Amália reaches a level of popularity never known before in Portugal. In 1947, Amália is already an indispensable name in fado, theatre, music and film.
November brings the debut of her second film at the Oporto Coliseum: "Fado-History of songs," advertised heavily as being inspired by the life of Amália (which is not the truth), it quickly became a commercial success.
“The fado? Well, I like to do this. I especially liked some rehearsal sessions that I invented, because if I had to learn to sing with a guitarist who was my boyfriend, then I definitely had to learn it. So at first I sang badly, then I sang better, and it was a serious rehearsal.”
Because of her role in this movie, Amália received the SNI Award for the best actress of the year.
1949-1954
In a few years, Amália becomes a symbol of national success: the poor girl that with the power of her song becomes rich and famous overnight, awakening all passions. Everything about her is said, everyone wants to know about her, everyone loves her. Around her a curiosity generates, and she is discussed, criticized, copied, with unlimited fervour.
Amália sings in Paris for the first time, at Chez Carrère and in London at the Ritz, for festivities of the Department of Tourism, organized by Antonio Ferro.
In 1949 the movie "Vendaval Maravilhoso," debuts, a Portuguese-Brazilian co-production, based on the life of poet Bahia Castro Alves. Amália plays the role of Eugénia da Câmara, the lover of the young poet, creating a character that was totally different than what was normally assigned. In this historical film, Amália reaches an astonishingly dramatic force, comparable to the great tragic cinema. But the movie is a commercial failure.
A crucial milestone in Amália´s internationalization derives from her participation in the film, The Marshall Plan; a program of America’s support to post-war Europe, the most important artists of each country were involved. The success repeats in Trieste, Bern, Dublin and Paris. Amália is starting to be talked about all over Europe. In Rome, Amália works in the Argentina Theatre and is the only “new” artist appearing along side the most famous classical singers of the time.
“Then I saw that it was a symphony orchestra, and that all people were classical singers and musicians, Canilla, Jacques Tibaut, that everything was classic, except me. There was a huge orchestra and me alone with a guitar. I was filled with fear, the guitarists too, and I sang with that voice. We were all terrified. And so I said, "I hope that our Lord will give me an hour of very high fever, so I do not have to sing, but I really had no fever, I had to sing. I was convinced that the face I had when I entered the stage was so miserable, I felt that people began to look at me with tenderness, ultimately that inspired me a bit. I do not know if it was the tenderness of my presence, I looked for people and people looked to me with a certain interest. The fear was so great that it showed in my face. Then, I was actually a great success, and for the first time in my life, I cried and laughed at the same time, and the people said "perque piange, perque piange, e estato un sucesso formidabili, perque? Le brava, le brava.” I was there but I didn’t believe what was happening, I only realized it afterwards, people were waiting for me and when I left they all started applauding.”
During a show in Dublin, Amália sang "Coimbra," which remained in the ear of the French singer Yvette Giraud that later made the song popular in France as "Avril au Portugal."
When Amália goes back to Lisbon, she meets with Alberto Janes, an unknown pharmacist that wrote, especially for her, the music and lyrics of a fado that Amália would to give back to the world.
“Alberto Janes appeared to me in my home, * "You know, I am a pharmacist, I have a pharmacy in Reguengos, but my passion is music, my passion is to be an artist, and I do a few things and I created this fado, when people hear it they all say that "this is a fado for Amália, this is a fado for Amália, this is a fado for Amália" – they surprised me, and I so came here." He appeared to me with the fado "Foi Deus”, which everyone thought was not good, everyone that was in my house said it wasn’t good, and I said “yes it is”, because I could already hear myself singing that fado. He created a very beautiful fado even by today’s standards, anytime and anywhere I sing that fado it has an extraordinary effect. The words and the music he wrote lead me to sing with a force, because there is no music that has such a response only because it’s beautiful. There is something else that the person feels, and when the end comes "It was God who put me in his chest, the rosary of feathers that I hold on to, cry and sing," sometimes I find myself recalling and I can’t hold back the tears, I start crying and can hardly finish singing. As soon as I saw it I knew it was meant for me.”
After 1950, Amália doesn’t stop travelling. A series of successive tours take her to Africa and the Americas. In Mexico she is a great success, she remains there for a long period. Amália, who always sang in Spanish, then discovers the popular Mexican song, the “Ranchera”, which adds to her repertoire. However, it is with fado that Amália wins over Mexico.
After leaving Mexico, surrendering to her fascination, Amália goes and performs in one of the most famous places on the earth. After her performances at the “Mocambo” in Hollywood, the meeting point of the great stars, Amália receives proposals for movies and more praise.
In 1952 Amália performs for the first time in New York, at “La Vie en Rose”, which lasted for 14 weeks. She is the first Portuguese artist to perform on the famous American television program "Coke Time with Eddie Fisher", where she sang "Coimbra."
She then signs a contract with the Valentim de Carvalho label, making her first recordings for the company at their studios, EMI English in London. The relationship with Valentim de Carvalho would only be interrupted briefly in the late 50s, by a passage to the French publisher Ducretet-Thomson, after which Amália returned to work with Valentine de Carvalho permanently.
Amália is invited to play a small role in a Henri Verneuil film, "The Lovers of the Tagus," a French production in Portugal, with Daniel Gélin and Trevor Howard. In the movie Amália performs "Canção do Mar" and "Barco Negro", which quickly travelled around the world.
She then edits her first LP: "Amália Rodrigues sings fado from Portugal and Flamenco from Spain," published in the USA by Angel Records. This album was never edited in Portugal, but has editions in England and France.
1955-1961
As on the stage, and also in studio, Amália only sang when she liked what she heard. The family environment that was created at the Valentim de Carvalho studios, where Amália was surrounded by friends, recording the night away, became necessary in order to transform the sessions into unique moments. Throughout the rest of her career Amália recorded her greatest records, always accompanied by sound technician Hugo Ribeiro and friends, just as it was in the recording studio.
In 1955, in the midst of great expectations, Amália debuts as a dramatic actress in the famous piece by Júlio Dantas "A Severa." Taken to the scene at the Monumental theatre, this drama, which was created in 1901, is a romanticized version of the life of the mythical fadista Maria Severa. This drama was a production of Vasco Morgado, and Amália Rodrigues in the role of Severa and Paulo Renato as Marialva.
Also in 1955, she takes part in "April in Portugal", a movie entirely devoted to Portugal and to its natural beauty, in Technicolor and Cinemascope. The film debuted in London in 1955, this film, in which Amália performs "Coimbra" and "Canção do Mar” was awarded at the festivals of Berlin and Mar del Plata.
Returning again to Mexico, she takes part in the film "Musica de Siempre" with Edith Piaf.
In April 1956, Amália, performed for the first time at the Olympia in Paris, one of the farewell parties for Josephine Baker. Days later, she debuts at the Olympia as "Vedeta Americana", closing the first part of the show. The success was such that, at the end of the three weeks of the contract, Amália was asked to extend for another three weeks. The following year, she debuted as the first headlining artist at the Olympia in Paris.
In less than three years, Amália reaches the highest levels of prestige and popularity in France. The performances keep coming, the record sales multiply, and the public show more interest. Even the artists love her, many writing songs specifically for her, as was the case of Charles Aznavour that inspired by Ai, Mouraria wrote for Amália: Ay, Mourir Pour Toi.
Amália signs a contract with the French publisher Ducretet-Thomson, for which she writes the material, published on two albums and five Lp’s before returning to Valentim de Carvalho.
She takes part in the movie by Augusto França, "Sangue Toureiro", the first Portuguese colour movie, where she has one of the main roles and performs five songs by Frederico Valério. She debuts on Portuguese television, in the lead role of the play "O céu da minha rua" adapted from a piece by Romeu Correia. During the display of this piece the streets of the major Portuguese cities are deserted. Everyone wanted to see and hear Amália.
As a result of Amália’s international success, Lisbon organizes big festivals in her honour. At the International Fair of Brussels, the Portuguese government awards Amália the first of many honours. Her popularity does not stop growing. In 1959, Variety magazine elects her as one of the 4 best singers in the world.
In 1961, the rumours are confirmed, Amália marries engineer Cesar Seabra in Rio de Janeiro and announces that she will leave her artistic career and will live in Brazil. However, a year later Amália returns to Lisbon.
1962-1967
In 1962, Amália begins what will be the major turning point of her career: the music of Alain Oulman. This composer links a melody filled environment to a broad set but makes music that allows Amália to sing poetry that until now did not belong in traditional fado.
“Alain was a change, * it was the birth of a completely different artist * not only because the music was wonderful, but it was my style. I was waiting for that music. It is not that we were waiting, but my way of singing was waiting. And it satisfied my singing, the full extent, those beautiful phrases, the strength they had. And then not only that, I grew a little bit with him, because I sang all the poems from the XII and XIII century, from Camões and all other good poets. I sang the poems because of Alain.”
Alain and Amália had an intense understanding for each other, Alain Oulman continued to write music for Amália, up until the end of his life.
Amália edited the famous LP "Amália Rodrigues," better known as "Busto" or "Asas Fechadas." It was Amália’s first album actually thought of as an album, and is also her first album with the Alain Oulman songs. The twelve tracks of the album (originally geared towards the English market) were published early in 1963, spread over three LP's.
This work represented a major turning point in her artistic life, singing songs like, "Estranha forma de vida" and "Povo que lavas no rio," by Pedro Homem de Melo.
Triumph after triumph, Amália makes even the most diverse public simply vibrate. In 1962 at the Edinburgh festival, she is once again considered to be at the top of the great classical artists. In 1963, in Beirut, her prestige is such that they invite her to sing her fado’s and to accompany their Thanksgiving Mass for the independence of Lebanon. And she always goes back to visit the countries that do not get tired of her presence. In Paris, the public is always outrageous, when she participates in the most sensational artistic events, at all venues, not only the Olympia.
In 1964 Amália returns to film with "Fado Corrido", a film by Brum do Canto, based on a story by David Ferreira Mourão, where once again they give her the role of fadista. When the movie was first shown in Lisbon it was confirmed once again that Amália continued to be the favourite artist of the Portuguese public. Wherever she appeared she was always a sensation.
In 1965, Amália has her best performance in film in " As Ilhas Encantadas " by Carlos Vilardebó, based on a Herman Melville novel. In this film, different from all others in her career, Amália does not sing. Amália receives the award for best actress for her role in "The Enchanted Islands" and the following year appears in the French film "Via Macao."
It is during the filming in the Azores that she meets Augusto Cabrita, who will become until his death, her official photographer.
"The enchanted islands' debut in Portugal; The film is badly received by the criticism and by the public and so Amália will no longer accept a lead role in film, despite the insistence of friends, like Anthony Quinn.
These performances in the cinema, confirmed Amália as a great dramatic actress. In 1967 in Cannes, Anthony Quinn, with great enthusiasm, officially announces that he is preparing two movies for Amália, the first being “Marriage of Blood” by García Lorca. But Amália prefers to express herself in the corner.
In the midst of great controversy, the "infamous" LP is published " Amália canta Luís de Camões", which includes "Lianor", "Meus Erros" and "Dura memoria", poems that were changed into fado, and the famous album "Fado Português".
Amália works in Lincoln Centre in New York in 1966, with conductor Andre Kostelanetz, in a concert of Portuguese folk themes, accompanied by an orchestra. The concert will be repeated later at the Hollywood Bowl and thus inspired by the concerts, recording of these themes with the orchestra starts at the studios of Valentim de Carvalho, with arrangements made with conductors Luis Joaquim Gomes and Jorge Costa Pinto. The album was launched in Portugal in three LP's, later to be launched in France.
Returning for a season at the Olympia, as the headlining artist of a show called "Grand Gala du Music-Hall Portugais", entirely composed of a cast of Portuguese artists such as; Simone de Oliveira, the Duo Ouro Negro and Carlos Paredes, among others. She records the "Concerto de Arranjuez" by Joaquin Rodrigo with lyrics in French, "Arranjuez, mon amour", accompanied by the orchestra of Luis Joaquim Gomes and edits the album "Fados'67" (which will be known as the "Curse”).
In 1967, Amália receives the MIDEM award attributed to the singer who had the most sales in their country with the album "Vou dar de beber a dor”. The MIDEM prize of 68 and 69 is again awarded to her, an exceptional feat only achieved before by the Beatles.
1968-1974
RTP transmits a piece by Frederico Garcia Lorca "A sapateira prodigiosa", with Amália in the lead role.
She performs for the first time in the Soviet Union.
She launches the album "Marchas de Lisboa", which brings together a selection of the best marches recorded between 1963 and 1968, and “Vou dar de beber a dor,” the first of a series of compilations gathering material published previously in singles.
She is guest of honour at the Festival du Marais, in Paris and also the Olympics of Song in Athens.
In 1970, Amália reaches the peak of her career with "Com que voz” where, with music by Alain Oulman, she sings some of the greatest poems of the Portuguese language. It is because of this record that Amália wins the most important awards of the record industry: IX Award of Italian Discography (1971), the Grand Award of the City of Paris and the Grand Album Award of Paris (1975).
“It is the album that I like the most. Since I recorded it, and I was not by myself, I was with the musicians, the poets… The musician was Alain, the poets and then also the monitoring, which was very well accompanied by Fontes Rocha and Pedro Leal.”
In January 1970, Amália goes to Rome to act in the Sistine theatre in Rome. The success was such that the phenomenon "Amália" spreads throughout Italy, "La Folia per La Rodrigues."
“I started to travel to Italy, all of Italy, from one end to the other. Even Sicily and Calabria and Sardinia, everywhere. Until Triestre, ... There wasn’t a town or city I didn’t sing in, unless there wasn’t a theatre, and it was a great success.”
Without limiting to the big cities, Amália travels throughout Italy, she triumphs where many singers, even Italians usually do not perform. In those long tours, Amália gives more than 80 performances per season.
Always with great success, Amália performs on the most prestigious Italian stages, such as, the Lyric House in Milan
This madness is far from staying only in Italy. She receives the President of the Republic, Américo Thomaz, the Military Order of Santiago de Espada, degree of knight. The French state grants her the Order of Arts and Letters, degree of knight.
She edits the album "Amália and Vinicius," recorded live at home and composed of songs interpreted by Amália, with the guitar and viola, and poems by the Brazilian poet bossa nova, Vinicius de Moraes, and by José Carlos Ary Santos, David Mourao-Ferreira and Natália Correia.
At the beginning of the 1970s, Amália sings in Tokyo for the first time, and it is also in Japan, though so far and with a very different culture, where the audience yields to the fascination of Amália. Then follow the tours throughout Japan, covering several cities. All of her records are edited in this country, which identifies greatly with her. Often, when Amália goes to Japan all her shows are already sold out, launching Amália, as a truly cultural bridge between Portugal and Japan.
“The madness came about because they were ... When I came to Japan; they were already crazy for me. I recorded a live album so that you can see how well people received me. * It is from Japan, that I got my first video , my first CD , my first laser disc , Japan is always the first in that stuff now, but , the Japanese liked me very much.”
She edits her second folklore album with an orchestra, "Amália canta Portugal II"; It is also the year of "Oiça lá ó senhor Vinho" and the LP "Cantigas de Amigos" where Ary dos Santos and Natália Correia participate with lyrics accompanied by the medieval Portuguese guitar and viola.
She launches "Amália canta Portugal III", also known as "Folclore à Guitarra e à Viola", and recorded 12 songs at the Valentine de Carvalho studios with the jazz saxophonist Don Byas.
In 1972 in Brazil, the debut at the Canecão in Rio de Janeiro with, "Um Amor de Amália", where for the first time, Amália sings and tells stories of her life. The success is so big that the show is repeated the following year. This show, where Amália is accompanied not only by the guitar and viola, but also by an orchestra and a choir, was recorded to disk.
She finally released the album "Encontro – Amália e Don Byas". Also released was a double album, "Amália no café Luso" an unprecedented live presentation of Amália in a Lisbon venue in the 50s.
On April 25th, 1974 there was a revolution that overthrew the fascist regime that ruled Portugal for 48 years. Amália because of a contract, had to act on Spanish TV, left for Madrid the following day. In Lisbon, the great international popularity of Amália immediately struck up rumours that she was connected to the regime. Although only slightly damaging to her career, these rumours seriously affected Amália.
Despite these rumours, Amália appears to be well at the Coliseum where 5,000 people gave her a standing ovation, proving that the public never abandoned her. From then on, started the longest tours in Portugal, and her success continued to increase and she continued with her international tours thereafter.
1975-1999
In 1976 "Amália no Canecão" was edited, it is a live album from the show performed by Amália on the Brazilian stage in 1973, "Songs of Good People", a compilation of material previously released on singles and Lp’s. Also this year, she sang at the Théâtre de Champs Elysées in Paris. The record is published by UNESCO, "Le cadeau de la vie," in which she appears next to Maria Callas, John Lennon, Yehudin Menuhim, Aldo Ciccolini, Gyorgy Cziffra and Daniel Barenboim.
In the year 1977 she edited two more compilations - "Fandangueiro" and "Anda o Sol na Minha Rua" - a new single from Alberto Janes, "Caldeirada”, and "Cantigas numa lingua antiga,” first album of original material by Amália in three years, although there are some songs that were previously recorded, here they are re-done in new versions. Also this year she returns to Carnegie Hall in New York.
In 1980, Amália edits "Gostava de ser quem era", her first album of new material in three years, consisting of ten original songs with lyrics of her own, written in her home while sick.
For years, the fatalistic sense or fear leads Amália to hide an illness from everyone that she considers fatal. In this period of profound sadness, Amália records two albums with her verse, "I would like to be who I was” and "tear".
“This is a disc that I like a lot. You know why? It caught me in a very sad time in my life, you notice that there is a voice with a sadness, a sadness only, without games without anything, it is a sadness here from within, that is, I would like to be who I was. I love the scream (pause), this is another sad thing that I did....”
“I was sick here with a tumor and was convinced that I would die or that I would kill myself ... But it did not result because I was not able to kill myself ...”
Also in 1980 she received the decoration of high official of the order of the Infant D. Henrique from the President of the Republic. After she is also honoured by the City of Lisbon.
In 1982, Amália edits, "O senhor extra-terrestre", a maxi-single with two songs of Carlos Piao, and "Fado", a new album, composed exclusively of new studio recordings of compositions by Frederico Valerius, many of them created by Amália. The album reaches 5th place in top sales of albums compiled by the magazine Music & Sound.
In 1983, she published the album "Lágrima", composed of 12 originals recorded during 1982 and 1983, again with her lyrics. It would be her last record of new material until "Obsessão", in 1990.
Also edited, in 1984, was "Amália na Broadway" which brings together 8 standards of American music recorded by Amália in 1965 in the studios at Paço de Arcos with the English maestro Norrie Paramor, but never before published on disk. The recordings were designed for an album of American standards that were to never see the light of day. The album reaches 17th place in album sales.
April 19, 1985, Amália performs her first major solo concert in the Coliseu dos Recreios in Lisbon.
“It was my first recital alone, the first time in Portugal, which I have done for years and years abroad. And in my country I never had any. The first play was marvellous! I had never seen applause like that before! The applause was filled with warmth. * It lasted and lasted and they even stomped with their feet. It was a thing that made it seem like that the Coliseum would come down. * There was a time when the public and I were one, it was something extraordinary...I will never see that again!”
The success of the Coliseum repeats itself in Paris where Amália is awarded by the Minister of Culture Jack Lang, with the highest degree of the Order of Arts and Letters. And from Paris she departs for the rest of the world.
In July she edits the double album "O melhor de Amália – Estranha forma de vida", which brings together 24 of the most popular and acclaimed songs by Amália and reaches 1st place in top sales, remaining 8 months at the top and selling up to 100,000 copies.
Following the success, a second album compilation is edited, "O melhor de Amália volume II – Tudo isto é Fado" which exceeds the 50,000 copies sold and reaches 2nd.
Since 1985, the 6th of October in Toronto, Canada, is officially considered Amália Rodrigues Day.
In 1987, her official biography is published, "Amália – Uma biografia" by Vitor Pavao dos Santos, director of the National Museum of Theatre, journalist and perhaps the greatest admirer of Amália, on Portuguese territory. This book has become an essential reference for those wishing to know more about the artist and has been the basis for much of the journalistic work on Amália, including this site.
Amália’s first CD is published in Portugal: "Sucessos" a compilation originally designed for the international market, and that will only be available in catalogue until her albums are transferred to CD.
Also launched this year, the luxurious triple-album "Coliseu 3 de Abril de 1987" which includes the entire concert at the Coliseum in Lisbon. It receives the Gold album award, and reaches 13th place.
In 1989, celebrating 50 years of Amália, EMI-Valentim de Carvalho edits "Amália 50 anos", a collection of eight double-albums or thematic CD's grouping many of the recordings by Amália for the company, including several rarities and unpublished recordings.
In Portugal on the patronage of the President of the Republic Soares, she receives the Military Order of Santiago de Espada; the celebrations are a true event nationally. Holidays, decorations, exhibitions, to Amália all of this is never too much. These celebrations, entrenched themselves in a big world tour. - LISBON, MADRID, PARIS, ROME, TEL AVIV, MACAU, TOKYO, RIO DE JANEIRO, NEW YORK.
“The importance of applause is what keeps me alive, a little alive, the greater joy I have is almost always on stage. Now, there is one thing that I have; a great respect for the public, and they can stay... they can feel that. There isn’t an artist who has as great a love of the public; I feel it’s the truth! I had aged a lot; not only in the face but in everything ... my face is not my fault that happens to everybody! It’s natural. It is not of my mistakes. I never sang to deceive anyone by doing something I was forced to do. I am a real person, which gave herself completely to the public and that is why the public is given itself completely to me.”
Also that year she is received by the Pope at the Vatican, in private audience.
In 1990 "Obsessão" is seen to be edited it is the first album of original and unprecedented material by Amália in seven years, composed of themes recorded during the interregnum.
Published in 1991, was the video cassette "Amália live in New York City" it is a concert recording at the Town Hall in November 1990. She receives from the French President, Francois Mitterrand, and the Legion of Honour.
In 1992 the album "Abbey Road 1952" is published, which brings together all of the first recordings made by Amália for Valentim de Carvalho at the Abbey Road studios in London.
In 1995, for the first time on the compilation album "Estranha forma de Vida – O melhor de Amália" is edited and RTP transmits for over a week, the documentary series "Amália – uma estranha forma de vida", five one hour episodes directed by Bruno de Almeida including many images of files from the five corners of the world and never before displayed in Portugal. This year she also edited "Pela primeira vez – Rio de Janeiro", which brings together the 16 CD recordings that Amália did in Rio de Janeiro in 1945 for the Continental publisher. This is the first official release of these recordings, unavailable for many years in Portugal, digitally restored in London, at the Abbey Road studios.
"Segredo," an album with unpublished recordings made between 1965 and 1975, was published in 1997.
The death of her husband, Cesar Seabra, after 36 years of marriage.
Publishing a book of poems "Verses" with Cotovia publishing.
New national honour at the World Fair in Lisbon Expo98.
Amália says:
“It was a strange way of life because I didn’t do anything to get it; it was by will of God, was it not? "That I live in anxiety, that all are my everything, which is my longing to, it, was by the will of God." I did this at 30 years old! I already felt as if it was God that created my destiny, that marked my destiny for me, that gave me an ability that I was born for, ... I was born with this obligation to sing fado! Or, it was fado that did this! Fado is destiny, so it gave this destiny to me! When I die they are going to invent many stories about me, if they invented about the “severa” and don’t even know if she existed, they will definitely know I existed.”
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 Antonio Mello Correia was a fadista that came on the seen in the 60’s, with a very unique form and style of singing fado. He was a frequenting performer at many fado houses. Antonio was bohemian in nature and charismatic, and because of his sympathy and courteousness he made friends very easily. His professional debut was brought on by João Ferreira Rosa, who contracted him to perform at “Embuçado”. Later, he became one of the founding partners of “Sr. Vinho” (Mr. Wine) , along with José Luís Gordo e Maria da Fé Antonio recorded some tracks, but his career was cut short after a tragic accident, bringing a premature end to his life and career.
in “Lisboa no Guiness” by Victor Marceneiro
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 Born in Serra da Estrela, into a family of 12 siblings, Antonio Menano was without a doubt the most famous and popular singer of the fados of Coimbra. Just as Hylário, the fabulous bohemian singer and also his predecessor, Antonio Menano soon became an idol of the Academy, enriching the spirits of the students of Coimbra and the Coimbrian legend with fados and concerts, art and romanticism, dreams and illusions. Antonio Menano is so closely connected to the fado of Coimbra that they can not be dissociated from each other; to speak of Antonio Menano is to speak of the fado of Coimbra and the golden decade. According to John Seabra (No. 56 JAN / FEB, 1944, the Tourism Magazine), the memory and longing of Hylário were fading with time but sound of the guitars and singers continued to be heard in the Mondego. One day all of the rouxinóis went quiet to hear the one that was harmoniously standing out from the rest, a student, Antonio Menano. The memory of his name brings to mind the madness that came over Coimbra and then Lisbon and then all of the country when they heard this tenor sing.
It is said that thousands of people went to Coimbra just to listen to him. In Lisbon, when he sang at the festivals, and even in large venues, such as the Coliseum and the Zoo, tickets sold out and people became excited and nervous just waiting to hear him sing. He received many ovations, which was not very common, even with the largest lyrical celebrities.
DR. Joao Falcato goes even further and says that these ovations were never made to the biggest lyrical celebrities (In Coimbra dos Doctors, 1957, pág.169).
The Menano brothers (Francis, Horacio, Alberto and Antonio) constituted the most famous and productive group of fine artists to go through Coimbra. Preceded at the end of the previous century by two other Menanos, José Paulo Menano and Paulo da Costa Menano (both studied law, in 1901 and 1903, respectively) which were known for their artistic activities.
Registered at the University, Antonio Menano sees his own star in March 1915, when he sings fado in Aveiro, in an evening organized by the Academic Association of Coimbra, with the participation of the “Tuna” (University Choir) and the Orfeon. It is during the academic year of 1914-15 that the reorganization of the Academic Orfeon us undertaken, now under the regency of Dr. Elias Antonio de Aguiar. It is also during this time that Menano becomes soloist and trainer of the 1st tenor group, he also becomes the lead singer of fados and songs during shows and other activities.
Perhaps it is important to open a small parenthesis here to mention that his brother Francisco, was an excellent guitarist and composer, even before completing the course of law in 1912. He was also the trainer of the group of 2nd tenors of the Orfeon, when Anthony Joyce was directing it, and that one of the guitarists who usually accompanied Antonio Menano was, Paulo de Sa, Alberto Menano, his brother. Another guitarist who sometimes accompanied him was his other brother Horacio. In the 20s, Artur Paredes was also one of its guitarists. At the end of that school year, on June 10, 1915, there was a dinner in honour of Camões promoted by the students of Liceu Jose Falcao, in Coimbra. António Menano was invited to participate and, instead of singing the usual fados, he sang an excerpt from "The Lusiadas" that was made into music by Dr. Elias de Aguiar.
It was also in 1915 that the first edition of a musical with fados was written by Antonio Menano. "The three most beautiful fados of Coimbra," published by Livraria Neves, “a Rua Larga”, including the fado "D'um Olhar" (“As Meninas dos Meus Olhos"), by Alexandre de Resende, dedicated "to António Menano". The author of the other fados was Antonio Menano. "Fado da Morenas"("Todos Gostam das Morenas"), dedicated "to Estevao Neto" with one popular verse and three others by Fernando Correia, and the "Fado da Noite"("Ha quem diga que quem chora"), dedicated "to J. Gamboa”, with five verses by Alfredo Fernandes Martins.
In the 1915-1916 school year, in February, the Academic Orfeon went on tour to Porto, Braga and Vila do Conde, Antonio Menano is named a first star of greatness in the artistic coimbrão community, accompanied on guitar by Paulo de Sa and Alberto Menano.
The years of 1917, 1918 and 1919 were a relatively warm period in terms of "Fados and Guitars," perhaps contributing to this was an article by Manuel da Silva Gaio, which was Secretary of the University at the time, published in the “Ilustracao Portuguesa” of April 29, 1918. This article asked the students not to sing the "poisonous mushroom of fado, which originated from the urban “viela" and, instead, sing the popular songs of the Orfeon.
Interestingly, this period coincided, to some extent, with the fact that Antonio Menano had begun to sing songs accompanied by piano, instead of the traditional fados, which were widely known because of the 78 RPM records, editions of printed music, and rolls of music for automatic pianos, giving posterity and to his name and registering his voice.
In 1918 Antonio Menano integrates the Directorate of the Academic Orfeon and the Fogueiras of S. Joao. Again this year he sang popular Portuguese songs, with great pleasure and satisfaction from those present, but not fados.
In December 1919, the Academic Association of Coimbra promoted a musical performance at the Avenida Theatre, organized by Antonio Menano, in which he also participates and whose program does not contain any fado or guitars. The performance that was promoted by the Orfeon and “Tuna” at the Sousa Theatre also had no fados or guitars.
At the end of 1919 the first ban appears, prohibiting serenades: The local press reacts against this measure by police and the ban itself, instead of ending the fados and guitars, it apparently caused its popularity to rise again.
Meanwhile, a collection of musical editions of the "Orfeon repertoire of the University" came to light. They were composed of fados by António Menano (“Patriotico”, "Da Granja," "Das Romarias", "Do Choupal", "Dos Passarinhos" and "Morena "), which achieved huge success, with almost all of them reaching their 4th edition before 1923, fados which were also recorded in rolls for the automatic pianos.
In April 1923, Antonio Menano, already married but not yet graduated from University, took part in the tour of the Orfeon and “Tuna” to Spain, performing in Salamanca, Madrid and Valladolid. At the Monumental Placa de Madrid, in the presence of the King and Queen of Spain and with the square completely full, Antonio Menano was a hit. He was asked to repeat the fados several times, including at the request of the King, and noted that despite having any sound amplification available, his voice filled the square, his famous "pianissimos" could be heard perfectly, such was the silence. Accompanying him, as always, were Paulo de Sa and Alberto Menano.
In June 1924, the Academic Orfeon goes to Paris, where he performs in Trocadero, and after in Toulouse, Bordeaux and Bayonne. Antonio Menano takes part in the tour, singing fados with Augustine Fontes, accompanied on guitar by Manuel Paredes, another great guitarist of the time, uncle of the famous Artus Paredes.
When he concluded his degree in medicine, Antonio Menano exercised clinically in Fornos de Algodres, his homeland and where his parents, António da Coista Menano and D. Januária Paul Menano, resided. Although he had already graduated, he still remained very connected to the academic and artistic life of Coimbra, where certain student traditions are revitalized.
Antonio Menano would become the most widely known singer from Coimbra and the most famous throughout the country because of the recordings he made between the years of 1927 and 1929, in Paris, Lisbon and Berlin, for the Odeon Company in Paris. Of all of the singers of the so-called golden decade of the Academy of Coimbra, António Menano recorded the most records and achieved the most success.
Those sets of records had different colour labels, lilac, dark blue, and gold (some discs, very few, have red labels), having been produced many tens of thousands of records that were sold even after World War II. In Brazil, on the basis of these same mechanical recordings, the Trans - Oceanic Trading Company made for the Edison House of Rio de Janeiro, the majority of recordings, those records that had been labelled with an Odeon label of a dark blue colour and which had very good sale.
It is a shame that his amazing talent can not be heard through records, in addition to the mechanical recordings, the music of the guitar and viola is, in general, quite modest.
In 1929, during the famous Ibero-American Exposition in Seville, Dr.António Menano, despite having already graduated a few years earlier, was chosen for the "artistic embassy" sent by the Academy of Coimbra to perform at a festival offered to the Kings of Spain at the inauguration of the Pavilion of Portugal. The group consisted of three more elements: Artur Paredes, soloist and back up, Afonso de Sousa, 2nd guitar, and Guilherme Barbosa, viola.
Years later, in 1933, he voluntarily abandoned his meteoric and impressive artistic career, which was the promising of the golden decade (1920-1930), Dr. Antonio Menano left for Mozambique where he works in a clinic for nearly thirty years, he would return, permanently, in 1961. His last residence was at Rua Jose Falcon, No. 57, 5th Floor left, in Lisbon, where he would die.
Among the performances by Antonio Menano after his departure to Mozambique we are able to highlight the following, since he always held on to his “coimbrão” past:
- In October 1956, in Lisbon, at the Higher Institute of Agronomy, in Tapada da Ajuda, in the famous recital he performed in that was a resounding success. The show was scheduled to start at midnight, it began at 2:00 in the morning and only finished at the early hours of morning and without anyone moving a foot. The Diario de Noticias newspaper dating October 23, 1956 stated the following: "Until early hours of the morning, with a sky where the moon and the stars seemed to stand still and surround the Earth, the songs of Menano made Coimbra of four decades ago, rise again." They finish by saying:" With no electric light or microphones the voice of Menano, joined the violas and guitars, he gave Lisbon an unforgettable night. An unexpected and truly sensational show... "
From time to time he would appear in Coimbra and he would always end up singing. He would sing anywhere; one night he sang on the steps of the Santa Cruz church, "Feita de Pedra Morena", to a crowd that because of its enthusiasm and admiration, grew so large it stopped traffic.
In 1967, two years before his death he made two brilliant performances that were greatly reported and that stayed in the memories of all. The first in Coimbra, in the early hours of June 24, from the top of the stairs of the Old Cathedral, at the reunion of the Judiciary Course of 1907-1912, which Dr. Francisco Menano, his brother, was a part of. The monumental serenade was held with the performance of three “new generation” singers; Jose Manuel dos Santos, António Bernardino and Luiz Góes. Antonio Menano, who sang 4 fados, caused the greatest admiration for the wonderful way he sang.
His last public performance took place on December 16 at the opening of the Rodin gallery in Lisbon, by Painter Mario Silva, many former students of Coimbra attended, including Luiz Góes, Jorge Tuna, Joao Bagão, Aurelio Reis, Tossan Nemésio and Vitorino. Antonio Menano sang two of his best pieces, "Fado dos Passarinhos" and "Fado de Ansiedade."
Antonio Menano died on September 11, 1969 but he lingers in our memory, and the longing of his voice can be somewhat mitigated by listening to the music that left us.
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 Born in 1936, in Montijo, António Mourão seemed destined to be a factory worker. His love for singing surfaces when he comes into contact with the fado world in Lisbon. He happened to be watching a performance at “Parreirinha de Alfama”, when he suddenly got up and spontaneously started singing. His song was a success and he signed a contract the same day.
In 1965 he debuted in the magazine “E Viva o Velho” (Long live the Old Man). Also, in the same year, he sang “O Tempo Volta p’ra Trás” (Time Turns Back) at “Teatro Maria Vitória” (Maria Victoria Theater). The impact of the song brought people from all over Portugal to see him at “Viva o Velho Mayer”. The song became number one in sales, and became a hit that doesn’t escape the memory of those who were around to hear it.
António was a timid and reserved individual, who went on to become one of the Icons of the 60’s.
António Mourão is currently living in Casa Do Artista fighting some health problems.
In http://www.macua.org
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 One of the rare cases of an artist who did not limit himself to performing - but also composed! - Artur Ribeiro wrote some of the greatest classical Portuguese music, such as “A Rosinha dos Limões”, “Nem às Paredes Confesso” and “A Fonte das Sete Bicas”.
Born in Porto in 1924, Artur Ribeiro liked to sing as a child but his shy temperament made him sing hidden behind a curtain. In 1940, the family moves to Lisbon and it is here that his talent is discovered: a dance organized by the “Clube Radiofónico de Portugal.” Artur Ribeiro is immediately noticed by the program director of the station while dancing with a young woman who he wanted to impress. He is invited to perform at a party in honour of the Consul of Brazil. At that party, Ribeiro was approached by one of the leaders of “Radio Peninsular” to join the cast a lyrical tenor.
Working so that he is not to burden the family budget, Artur Ribeiro grows professionally, going from emissions producer to beginning to compose his first songs. In 1944, his professional debut was a show of “Esplanada da Voz do Operário”, along side Amália Rodrigues. His theatre debut was in 1945 at the “Coliseu dos Recreios,” going then to Porto to replace Luiz Piçarra in the opera “A Chave do Paraiso.”
In 1946 he debuted on the National station and, the following year, facing a bad professional moment, he accepted the offer to be the singer of the Estoril Casino Orchestra, starting a new phase of his career. Molding his voice to the music, he becomes an applauded vocalist of Lisbon, leaving the Casino to join Mario Teixeira’s group, a pianist with whom he begins to compose regularly. In 1948 he meets Max, for whom he writes some of his greatest hits - like “Ilha da Madeira”, and in 1949, won his first prize as a composer with “Canção da Beira”.
Along with his career as a singer, he is a composer, with hits such as “Rosinha dos Limões” (which originates in 1954, an opera of great success), “Maria da Graça”, “Adeus Mouraria”, “Pauliteiros do Douro” and “A Fonte das Sete Bicas”. In 1965, he had written 300 songs and 700 letters written for his own melodies and also for others. Max, António Calvário, Rui de Mascarenhas, Madalena Iglesias, Júlia Barroso, Tristão da Silva, Simone de Oliveira and Maria José Valério all recorded songs by Artur Ribeiro.
He was a regular on the APA radio programs, he recorded his first records in 1953, appeared on television (where he debuted in 1957) and cinema (writing the music of O Miúdo da Bica, with Fernando Farinha, where he also participated as an actor). He also participated in many variety programs in Spain. He died in 1982
In http://www.macua.org
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 Berta is widely recognized as the Iconic figure of fado’s “golden age”. The singer “arrived, sang, and conquered” and was consequently immersed in a wave of “craziness for fadistas”. Her first public performance was at the “Salão Artístico de Fados” accompanied by “Armandinho”; the success was such that she was immediately asked to become part of the houses rotation, something that wouldn’t happen, because of her young age (16). Instead, she went to Spain and recorded her first album in 1930, which made the headlines of the “Guitarra de Portugal” on October 30th of that year. The publication went on to describe Berta Cardoso as “someone committed”, and “igniting the profession ever since her debut”.
Endowed with a style of singular interpretive capacity, Berta had an irreprehensible dictation and a privileged voice. She became known for being the “golden voice of fado”. She underwent a meteoric artistic ascent, immediately surpassing her from anonymity to becoming the Icon of the national song. During the 30’s, 40’s and 50’s, she had a notable career that divided her time amongst fado houses and theatres at a national and international level. From the 60’s onward, Berta opted to perform in more intimate settings, performing almost exclusively at fado houses.
During her long career, Berta Cardoso created many hits, having recorded for various record labes, such as, Valentim de Carvalho, Odeon, Columbia, Capitol, and Imavox. Her albums always sold out, and today there are only a handful of 78’s and vinyl records which are in the hands of collectors. Currently in today’s marketplace, only the “Museu do Fado” (Fado Museum) and “Discoteca Amália” have the album from the “Estoril” label that produced six of her biggest hits: “Fado Antigo”, “Fado Faia”, “Chinela”, “Meu Lar”, “Cinta Vermelha”, and “Cruz de Guerra”. The lyrics from the first five came from the writer João Linhares Barbosa, and the latter one coming from Armando Neves.
Still existing today, is an album from “Movieplay Portuguesa”, number 20 in the coleection of “Fados do Fado”, with 4 works from Berta Cardoso, “Cruz de Guerra” written by Armando Neves, “Meu amor fugiu do ninho” and “Noite de São João” both written by João Linhares Barbosa, and “Testamento” written by João Redondo
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 A genuine and typical “alfacinha”, Carlos Ramos, with incredible romantic edge, was one of the popular fado singers, popular with the general Portuguese audience. He had a harmonious and warm voice, which dominated just as he wanted and yet held a modest and discreet posture. He was able to launch a full time artistic career, during which he recorded major hits, especially at the beginning of the sixties, using radio as one of his main avenues. From street to street you could hear everyone bellowing: "Nao venhas tarde..."
However-and few remember this small detail- despite his love for fado starting very early in childhood, it was only later, that he embraced fado professionally. Carlos Ramos appreciated and enjoyed singing Fado in the small taverns of Alcantara, a typical Lisbon neighbourhood where he was born in 1907. He began his fado life as an accompanying guitarist; he learned to play the Portuguese guitar during adolescence, while also fulfilling his responsibilities as a secondary school student. He also started studying medicine, but the accidental death of his father, forced him to immediately search for work to support his family. He devoted himself to radio, a speciality that he learned during his military service and in which he succeeded in professionally in order to earn a living. However, he continued to play and sing in his free time, establishing an excellent partnership with Ercília Costa on a tour they both did throughout the Americas.
Distinguishing himself as the performer who accompanied himself on guitar, and advised by Filipe Pinto, around 1944, he debuted at Cafe Luso, in Bairro Alto, then performing "Senhora do Monte", his first great success. At a given time in his career, he took a step and decided to dedicate himself, exclusively, to singing the fado. He performed the genre that at the time was widely used on the Portuguese stage. Hence his successes "Nao venhas tarde" and "Canto o Fado."
He frequented the typical fado houses of Lisbon during the forties and fifties; he also participated, with great satisfaction, in theatre and in movies. In 1952, he became the exclusive artist at "Tipóia", with Adelina Ramos at his side. Seven years later, in 1959, he decided to open his own fado house, "A Toca", an experience that came to last very little time. He suffered a heart condition that came about in the middle of the sixties and forced him to finish with his artistic life; he passed away some years later, in 1969.
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 Born in Parede on September 29, 1950, Carlos Zel began his professional career in 1967. His debut came one year later at the “Emissora Nacional” (National Broadcaster). He participated in theatrical musicals, “Aldeia de Roupa Suja” (Village of the Dirty Clothes) (1978),”A Severa” (1978) and “Ai Quem Me Acode” (1994)-, Carlos also sang in various fado houses and casinos, most notable at the Estoril Casino, having been the first male fadista contracted for a season to their stage.
Carlos participated in a few television programs and had an acting part in “Cinzas”, a soap opera.
He would go on to become co-founder of the “Academia da Guitarra e do Fado” (Guitar and Fado Academy). Also, he was the distinguished winner of the “Premier Prize” awarded by the “Casa de Imprensa” (Press House) in 1993. Four years later, the same entity awarded him with the “José Neves de Sousa” prize. He still went on to receive the “Medalha de Mérito da Cruz Vermelha Portuguesa” (Portuguese Red Cross’ Medal of Merit) and another prize from the regional government of Cascais.
In a career that lasted more than 30 years, Zel brought his voice, and fado style to all corners of the world, namely, Spain, France, Holland, Scotland, Denmark, Norway, Brazil, Argentina, Chile, Venezuela, Canada, United States of America, and Senegal.
Muitos foram os artistas que dividiram o palco com o fadista, de Maria João e Mário Laginha ao ex-Trovante Luís Represas, passando pela cabo-verdiana Cesária Évora e Argentina Santos.
Many artists shared the stage with Zel, such as, Maria João e Mário Laginha, ex-Trovante Luís Represas, Argentina Santos, even acclaimed Cape Verdian singer Cesária Évora.
Passed away suddenly in February 2002
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 Perhaps few people know that this man, a typical citizen of Lisbon and its history, was actually born in Barreiro in 1928. His father, a barber, decided to try his luck in the capital and, at only 8 years old, the small Fernando moved to a neighbourhood in Lisbon called Bica.
The following year he sang for the first time in public, in a competition between neighbourhoods. He came out a winner and also with a nickname: "The Kid from Bica." At the age of 11, because of the death of his father, he started singing fado professionally, for which he needed a special license. Backed by the renowned businessman Jose Miguel, he earned 50 escudos per night singing at Café Mondego. With the help of Fernando Santos, a journalist and author, he also started in theatre, the first being “Boa vai ela”, in which Laura Alves also debuted. Here he earned 100 escudos per night. It was by these means that he supported his family. The fado houses were his path for the years that followed: Retiro da Severa, Solar da Alegria, and Café Latino. At the age of 23 he travelled for the first time to Brazil. Here he stayed for four months, performing for the Tupi and Record radio stations, in São Paulo. Throughout the 50s he went international, gradually, his career prospered with the Portuguese communities, especially in Brazil.
In 1957 was named "The most Portuguese voice in Portugal”, by Radio Peninsular.
Present on television since the beginning, Fernando Farinha participated on the program “Melodias de Sempre.”
In the sixties comes the culmination of his popularity. Second on the charts in 1961, and triumphed in 1962 as the King of Radio. The following year he won the “Golden Record” award, ahead of Calvario and Tudela. In 1963 he won the “Oscar from the House of the Press” for the best fado. He also participated in the movies “O Miudo da Bica” and “Ultima Pega.”
He continued his career the following decades, performing mainly to emigrant communities. One of its lesser-known qualities was his ability as a lyricist and poet.
Major successes:
Sou do Povo, Deus Queira, Belos Tempos, Dias Contados, Menina do Rés-do-Chão, Fado das Trincheiras, Eterna Amizade, Guitarra Triste.
Following is a text from the Lisbon Fado Blog
Fernando Tavares Farinha was born in Barreiro in 1928. At the age of 7 he started singing in the fado houses.
His career lasted 53 years and in which he launched recordings of great success such as Belos Tempos, Deus Queira, Não Isso Não, Destino Marcado, Canção de Lisboa, Fado das Trincheiras and hundreds more. In 1963 he was named the King of Radio and he found his popularity peaked during the 60s and 70s.
He was a very dear artist to the Portuguese emigrants around the world, he made several tours abroad and it was at one of them that I met him personally; we remained friends until his death in 1988.
He was a simple person, nostalgic and liked to discuss politics.
Always willing to help, he was a great poet and played viola, which he used to help write several of his poems.
He was married for about 40 years, no children; he lived for more than 30 years in the same house on Rua Maria Pia, where I visited him several times.
He was one of the first fadistas to write and act in the presence of a low guitar instrument played by Joel Pina part of Raul Nery´s group of guitarists.
He was respected by other artists outside of fado and his best friends were Tristao da Silva, Manuel de Almeida, Raul Nery and Antonio Calvario.
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 In the year 1933, on November 21, on Rua do Capelão, in the heart of the Mouraria neighbourhood, Fernando da Silva Mauricio was born.
The owner of a genuine voice and stuck to his roots in Lisbon, Fernando Mauricio was also one of the great fado singers.
Fado is a typical urban song that began to define itself probably in the second quarter of the nineteenth century.
Nobody can say for sure how this type of song came to be, but it definitely has roots and complicity with the people of Lisbon. It was and still continues to be sung in parts of the older city and in the typical neighbourhoods, it gives voice to feelings that arise in daily life. It is sung in Mouraria, in Alfama, in Bairro Alto, in the narrow streets and corners, in taverns and bars, where love and bohemia were linked.
During the first half of the twentieth century, it acquired great melodic wealth and rhythmic complexity, becoming more and more literary and artistic. The popular verses were replaced by developed verses we begin to hear the “decimas”, the “quintilhas”, the “sextilhas”, “alexandrinos” and “decassílabos”.
During the 30s and 40s, the cinema, theatre and radio projected this music to the general public, making it somehow more commercial. The figure of a fadista is born as an artist. This was the golden time of fado where musicians, singers left the narrow streets and hidden corners to shine on stage in the theatre, the lights of cinema, to be heard on radio or on records.
The Houses of Fado then arise and with them the launch of the professional fado artist. In order to sing in these houses, it was necessary to have a professional portfolio and a repertoire endorsed by the Commission of Censorship, as well as style and good looks. The houses also provided an atmosphere of conviviality and the emergence of songwriters, composers and singers.
The artists who sang fado wore black. It is in the silence of the night, with the mystery that surrounds it, that you should listen, with a "soul that knows how listen," this music; we talk about deep feelings of the Portuguese soul. It is this fado that makes guitars weep...
The fadista sings about suffering, the longing for the past, the longing for a lost love, tragedy, disgrace, destiny, pain, love, jealousy, night, shadows, the city, the miseries of life, criticizes the society...
Fernando Maurício was a fadista with a distinctive voice that made a mark in time.
He came from a century old family of the neighbourhood. At only eight years old began singing in a tavern on the same street where he lived, "O Chico da Severa," where the fadistas got together after their performances.
Fernando Maurício remembers with longing, precious moments of his childhood, where, in the early morning, he would sneak out of the house and “unlock the door and go to the tavern. They (the fadistas) went there to have breakfast and once in a while they would play a fadinho. I had a passion for the guitar. It was madness. I would stand on a wine barrel and begin to sing there ... like a parrot. "
This proving, very early, his knack for the world of entertainment, it was at the age of thirteen that, in 1947, he placed third in the “Joao Maria dos Anjos” competition, organized at Cafe Latino. At this time he was able to obtain a permit from the Shows Inspection, and thus could take his music to a professional level.
Later that year, on June 29 he participated in the Mouraria Child's March, in the role of the Count of Vimioso along side Clotilde Monteiro as Severa. At this time he also worked as a manufacturer of footwear.
Jose Miguel, a businessman, contracted him and he sang regularly for a period of three years, at weekends, at Café Latino, O Retiro dos Marialvas, Vera Cruz and the Casablanca at Parque Mayer. However, when he was 17 he decided to stop working, he started again in 1954, at “Cafe Luso”, in Bairro Alto. Here, he was already performing as a professional, as well as at “Adega Machado” and “O Faia”.
The 60s and 70s were a time for other houses of the Lisbon fado, such as Nau Catrineta, Kaverna, O Poeta, Taverna d'El Rey and again, Cafe Luso. These houses won new audiences with the performances of Fernando Maurício who would be called the King of Fado. In the 80s began to perform at Adega Mesquita.
Fernando Maurício sang fados on programs for the National station and participated in the first pilot programs on RTP, as well as the third to aired.
I preferred to sing at charity and benefit parties, throughout the country, not worrying much with a record career. Nonetheless, he did record. In addition to the fados he sang with Francisco Martin and his participation in compilations, there are also: De Corpo e Alma sou Fadista, 1984; Fernando Maurício, Tantos Fados deu-me a Vida, 1995, Fernando Maurício, Os 21 Fados do Rei, 1997; Fernando Maurício, col. O Melhor dos Melhores, 1997; Fernando Maurício, and Clássicos da Renascença, 2000. He also participated in numerous shows abroad, particularly in Luxembourg, the Netherlands, England, Canada and the United States.
He always stayed connected to the neighbourhood of Mouraria, the sports group, the neighbourhood parades, his childhood friends, football matches, Laranjinha, singing and the dances. He recalls and misses all of this: "There was a bakery on Rua do Capelão where I was born and at that time – in the 40s – everyone would sleep in the street. In the morning we would get up and wash our faces at the Chafariz do Guia (a fountain). I had many friends. We had a football team and we would play ball in our street. It was between Capelao and Guia. We would play barefoot. At this bakery they had baskets of warm bread, fresh out of the oven. From dawn, as the baker worked, we would lean against the door and we would take some of the bread. It was a very bad and difficult time. It was wartime. We were five siblings, then the two youngest were born. My mother was from Bonfim, in Porto. She would wash clothes to help out at home. "
It is with these memories and with one of his friends, poet Mario Raínho, that he wrote one of his favorite fados, " O irmão da Juventude."
He received several awards throughout his life, such as: Award of the Press (1969) and the Prestigious and Career Awards of the House of the Press (1985/1986). In May 2001, at the Coliseum, the President of the Republic awarded him with the Order of Merit.
He was averse to tributes but in 1989, Amália placed in the street where he was born, 2 stones, evocative of the emblematic voices of fado of this neighborhood: Maria Severa Onofriana and Fernando da Silva Mauricio. The City Council of Lisbon in 1994 marked their golden anniversaries at S. Luiz. In 2001, honoured him again at Pacos do Concelho when his personal and artistic biography was published, with the assistance of then EBAHL (now EGEAC) and the House of Fado and Portuguese Guitar.
He died on July 15, 2003 in Lisbon. The heart of the fadista that cries, sings and suffers stopped, but his fados continue to be heard in the neighbourhoods of Lisbon.
The City of Lisbon honoured him once again by naming a street in Lisbon after him, in the parish of Marvila. This time his paths will cross with Fernando Farinha and Armadinho, two other voices of fado that are near here, were honoured in the same way.
Sancha Teresa Pereira (adapted)
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 A romantic voice by excellence, Francisco Jose was one of the revelations from the Center for Preparation of Radio Artists and one of the most popular names of the song in the mid fifties. You can, however, count on your fingers the years of his career actually spent in Portugal, as the bulk of his career was spent in Brazil.
Born in Évora, in 1924, Francisco José Galopim de Carvalho (his full name, his brother is scientist Galopim de Carvalho) debuted himself artistically at his high school senior prom, but only started his professional career in 1948, after leaving his engineering course. He was accepted at the Center for Preparation of Artists for National Radio in the same year, and soon his warm and suggestive voice made him one of the preferred artists by listeners of radio. And in 1951, he published what would be his ex-libris: the ballad “Olhos Castanhos”, it became a true sensation and would be forever linked to his voice. It was not, however, his only success, as would be proven by “Deixar Falar o Mundo” and “Ana Paula”.
In 1954, he departed to Brazil, a market then very open to Portuguese artists, but he never imagined that he would be set permanently in his "sister country", leaving behind a successful career made in Portugal. Until 1960 he performed mainly for the Portuguese community rooted in Brazil, and only in 1961 did he record his first record: a new version of Brown Eyes, which brought about unprecedented success in the country, selling a million copies. Soon, Francisco Jose became a star in Brazil and the most popular Portuguese artist ever in the country, where he lived until the eighties.
He returned, however, regularly to Portugal where, in 1964, is a protagonist of a "diplomatic incident" he proved, on a live variety program that Portuguese artists were poorly paid for their participation on television programs, while international artists received small fortunes. He didn’t perform on Portuguese television again until 1980.
In 1973, he debuted his most successful song ever in Portugal “Guitarra Toca Baixinho”, launched during one of the seasons where he regularly visited Portugal. Only in the eighties did he finally return to Portugal, where he launched, in 1983, his last record, the single “As Crianças Não Querem a Guerra”. He died in 1988.
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 Hermínia Silva was born in 1907, five years after Ercília Costa, who was the first fado artist to leave the boarders of Portugal. She soon became a noticeable presence in the retreats of Lisbon, which did not hesitate to contract her because of the originality with which she sang the Fado. The Song of the Neighbourhoods of Lisbon was in her veins, being that she was born right beside S. Jorge Castle. The "stories" of the love between Severa and the Count of Vimioso were still fresh in the memory of people. The Fado was part of their daily lives.
Quickly, her presence was noted in the retreats, and within a few years, in 1929, Hermínia Silva debuted for the Parque Mayer. It was the first time that Fado tickets sold here. Some newspapers of the time referred to her as the great national star, reaching this affirmation because the fadista had "a crowd of fanatic admirers." Her creativity and its inclusion in the Fado, created lyrics that were less sad, and sometimes with a strong stamp of social criticism. Her commitment was to bring to Fado and the Portuguese guitar, fados that were not traditional. These untraditional fados consisted of work by maestro Jaime Mendes, and composers such as Raul Ferrão, thus creating the so-called "musical fado", the fado whose music, though composed according to the basis of Fado, takes into account the potential of the Portuguese guitar.
Hermínia Silva became, without planning it, one of the most important people of Fado, as it exists today. Alfredo Marceneiro was the most important because of his exploration of the stylistic Traditional Fado, with Ercília Costa as his greatest icon. Hermínia would bring Fado to the great halls of the theatre, and would "launch" the future of this “National Music”, with the accompaniment of major orchestras, led by maestros, which were also composers. Her fame had reached such a point that the movie industry wanted to take advantage of her success as a great figure. Indeed, nine years after her debut in the theatre, Hermínia was part of the cast of a film by Chianca de Garcia, "Aldeia da Roupa Branca" (1938), a role that allowed her to sing in the film. She came to be considered the second most popular Portuguese artist of the twentieth century after Amália Rodrigues, the third most important person in Fado, yet to be born.
After several performances abroad, with particular emphasis in Brazil and Spain, Hermínia bet on a career, which was more concentrated in Portugal. Her known fear of flying lost her many contracts that emerged. But Hermínia was in the clouds, in her Lisbon of the seven hills. In 43, she was called for another movie, "Costa do Castelo,” in 46 "Homem do Ribatejo", she also passed by the stages of Park Mayer regularly, making success with her fados. Indeed, Hermínia was able to achieve such success in the theatre, that the SNI, gives her the "Award of the National Theatre," a much-coveted honor at the time. Until 1969, in "O Diabo era Outro", the popularity of the fadista filled the screens of theatres around the country. More reviews, more recitals, many successful records…
But for those who wanted to see the great Hermínia much more closely, they had the golden opportunity, see her live and in color, without a microphone, in her own house - the Solar da Hermínia, a restaurant which she owned almost to the end of her artistic life. People have many memories of this fantastic place, which I didn’t have a chance to see. Our companion Raul, in "Café Expresso", editor of the blog "Congeminações," told me once, about the fantastic evening he spent with Hermínia in her Solar. As many Portuguese and foreigners hold in memory, a voice and a presence of a woman who loved life, and who sang the Fado.
Fortunately, the Portuguese State, the old and the Contemporary, acknowledged Hermínia Silva. She received various awards and decorations, distinctions and appointments. This is right for an artist who today is one of the three largest names of Fado, beside Marceneiro and Amália that for different reasons, by "apports" of form and content that brought the Song of Lisbon, the Fado, as it is now understood, sung, played and formatted. The priestess sang almost until leaving our world on June 13, 1993. Thus one of the biggest stars of Fado passed away.
Major Career Points:
1920 Sang to Alfredo Marceneiro and to other friends, including Armandinho, who all loved to listen to the "girl." In 1926 she began to sing in the Valente das Farturas, in Parque Mayer. Alfredo Marceneiro sings close, in the Julio das Farturas. In 1929 at the “Esplanada Egípcia,” in Parque Mayer, she sings “Ouro Sobre Azul,” “De Trás da Orelha” and “Off-Side.” Still at the Parque in 1932, she then moved to Maria Victoria Theater, where she performs in the opera “Fonte Santa.” In 1933 at Ingressa Variety Theatre, she was the second figure, immediately after Beatriz Costa. In 1958 she inaugurates “Solar Hermínia”, in Bairro Alto, which engages her in such a way that she leaves the theatre. She would be at the head of house for 25 years. In 1970 she did 3-month tour in Brazil. She closed, in 1982, “Solar Hermínia,” the reference point of her career and where many artists performed. In 1987 at the Loucuras disco she put on a memorable show, in the presence of then President of the Republic, Mario Soares.
Wikipedia
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 There are many artistic personalities that left their mark in Portuguese music history. Artists, who by talent, charisma and popularity marked José’s era.
There aren’t many, however, that would single handedly alter its history. José Afonso was one of those that did.
He would be known by an intimate and universal name: Zeca Afonso. A name that refers to more than the artist, but convene a powerful figure in the collective imagination, a figure that conjures up images of myth. In some form, Zeca was conscious of this. In a long series of interviews that Zeca gave for the book “Livra-te de Medo”, he affirms, “Me a myth? (…) I only feel like a myth when people speak of it”.
José Afonso didn’t merely determine the history of Portuguese music. He was a protagonist in some of the main cultural changes, political and sociological, that Portugal went through in the 60’s.
Perhaps it is this main feature that distinguishes Zeca Afonso. He largely transcended his condition of composer-singer and his status as an artist. He was a man who sparked change and innovation.
“I HAD A GREAT DESIRE TO SING”
José Manuel Cerqueira Afonso dos Santos was born in Aveiro on August 2, 1929. The following year his parents departed for Angola, for professional reasons, leaving young Zeca behind in Aveiro, at his uncle’s house, due to medical complications.
His father, Judge José Nepomuceno Afonso, left a profound mark on Zeca’s life, Zeca recalls: “It was a very neurotic subject, with many humorous fluctuations, but from an intellectual stand point, one of strength, precision, and impressive rigor. (…) He didn’t openly approve of my singing activities. (…) He wanted a child that would go on to be a doctor. Formally, he did get that, but my practice brought me to music. Later(…) he began to accept me as he found out that my songs were against the regime.”
It was his mother, a primary school teacher that required Zeca to travel to Angola, at the age of 3. He traveled on the vessel, “Mouzinho”, accompanied by an uncle, who abandoned him while on ship, because he was on his honey moon. Zeca, gravitated to a missionary, the only person that would watch him. He went on to remember that person in dreams for the rest of his life.
In Bié, later in Luanda and Lourenço Marques, Zeca becomes deeply impressed by Africa. “Africa, as a physical entity is something that weighed very heavily in my life and in my memories.”
In 1936 he returns to Aveiro, only to leave the following year for Mozambique, where he would reunite with his parents and siblings, Mariazinha, and João. His siblings became a strong presence throughout his life. His oldest brother, would become very close, and a prominent figure in the clan, who would support him through difficult times all through life. His younger sister would support him emotionally in letters that she would write to him.
He returned to “Continental Portugal” residing with his uncle, then mayor of Belmonte. Here he had contact with the conservative mentality of Portugal’s interior, which greatly disturbed him. But it is also a fertile time, in which he discovers the popular songs of Beira, which later have a great presence in his music.
At 11 years old he went to an Aunt’s house in Coimbra, also a closed, conservative, ultra-religious household. There, in his post primary education at Liceu D. João III, he meets António Portugal e Luiz Goes. It is also at the school where he begins to sing in concerts, the opening paragraph to his long lived connection with music. He went on to say, “I had a great desire to sing. (…) anyone with a voice, even with little or no talent, was immediately put into the choir. There was also an interesting mechanism at the time, I don’t know if it came from the Bourgeoisie or the Nobility, but, any guy who was interested in a girl, would invite his friend, who knew how to sing, to pay a loving tribute to the girl, on behalf of the non-singing friend. I played that role in many of those serenades.
In those first years he lived passionately for Coimbra, “I traded the memories, a sort of physical freedom that I enjoyed in Africa, for the myth of Coimbra, a romantic Coimbra of liberalized freedom that we and other people sang of. (…) I imagined a Coimbra outside of its true dimensions. It was a glorified Coimbra, because when I tried to realize that image that I had conjured up, it became a real pain”.
In 1949 Zeca entered the University of Coimbra, and majored in the Historical and Philosophical Sciences, in the Faculty of Arts. He would complete his degree; however, he had a very remote interest in it. Music was already his prime motivation. Some of his original albums at the time were published with “Doctor José Afonso” on the cover. He also got married for the first time; in the midst of sever economic difficulties. The marriage brought about his children, José Manuel and Helena.
“RIVERS THAT LEAD TO SEA”
Like so many others, José Afonso is attracted by the musical expression that is widely accepted in Academia: the fado. His first to Albums were recorded in 1953. He went on to release other albums, like, “Fado das Águias” and “Solitário”, by António Menano. He was accompanied by António Brojo and António Portugal on the guitars, and Aurélio Reis and Mário de Castro on the Violas. Three years later he went on to record another album; again with Coimbra style fado’s.
After 1958, after his tour in Angola, where colonialism and racism, greatly affected the young artist, José Afonso begins singing at popular venues, mostly to overcome economic difficulties.
His ballad of Autumn, a decisive song in which he overcomes the traditional Coimbra style fado, this is the form in which it was recorded in 1960.
Águas Water
Passadas do rio After the river
Meu sono vazio My empty dreams
Não vão acordar Will not agree
Águas Water
Das fontes calai From the taps I silenced
Ó ribeiras chorai From the streams I cried
Que eu não volto That I won’t continue
A cantar Singing
Rios que vão dar ao mar Rivers that lead to sea
Deixem meus olhos secar (...) Leave my eyes dry (…)
The political content of the subject, with lyrics and music by Zeca Afonso, is only implied. But it was decoded by the most attentive, just like they decoded the formal daring of the “Ballad”, which would lead the way for the genre in the following decade. In the view of Louzã Henriques, “I consider the Autumn Ballad of Zeca very important, because for the fist time you see something, that doesn’t have the structure of a fado, changing the technique of the Ballad proper (…) The evolution of the Country began to bring about want for political intervention (…) Naturally, the political conscious made certain groups radicalize, creating a certain dislike for things that were traditional: the guitar was no longer a prestigious item, just like fado (…) The guitar virtually disappears, falling into the background, and the viola becomes the main form of musical support.
In Fados de Coimbra e...
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 Lucília do Carmo is unanimously recognized as one of the most fashionable fadistas of the 20th century. Inasmuch, ironically, few people know that this fadista who is widely identified with Lisbon’s popular song is actually from Portalegre, where she was born in 1920, with the family relocating to Lisbon when Lucília was 5 years old.
The potential in her voice was recognized when she was merely an adolescent, and at the age of 17, she debuted as a professional at “Severa”, through famous fado figure, Filipe Pinto. Lucília quickly became one of the most famous fadistas in all of Lisbon, performing at the well known fado houses; she even gained popularity in Brazil, where she would live for 5 years.
After returning definitively to Portugal in 1947, Lucília would go on to open her own fado house in the “Bairro Alto” of Lisboa. “A Adega da Lucília” would become a historic landmark, especially after her husband, Alfredo de Almeida (an agent who played an important role in the development of Lucília’s career), suggested a name change.
So, “Faia” was born, an obligatory passage for any fado lover, a direct result of the quality singers that Lucília attracted (Alfredo Marceneiro, Carlos Ramos, and Tristão da Silva were just some of the names that sang there). “Faia” would later be managed by Lucília’s son, Carlos do Carmo, (a great fadista in his own right), after the death of Lucília’s husband, Alfredo de Almeida. Lucília was relatively adverse to spending time in the recording studio, so she left behind very few recorded works, but those few works are widely recognized as staples in anyone’s fado collection, like, “Maria Madalena” and “Foi na Travessa da Palha”. Lucília would retire from music in the 80’s, subsequently passed away in 1999 after a long bout with illness.
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 Considered by many to be one of the last great and pure fadistas, Manuel de Almeida was born in 1922 in Lisbon. A shoemaker by trade, he began singing fado at the age of ten, but his timid nature played against his talent, so much so, that he participated exclusively in amateur shows. In 1951he finally became a professional, debuting at “Tipóia”, and abandoning his trade as a shoemaker.
Manuel de Almeida recorded a relatively small amount of albums, most of his career was spent in Lisbon’s fado houses, which he remained overly faithful to: 12 years at “Tipóia”, 11 years at “Lisboa à Noite”, 16 at “Forte D. Rodrigo”. Of all his albums, the one that gained popularity amongst listeners was “Eu Fadista Me Confesso”, produced by Rão Kyao in 1987.
He passed away in 1995.
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 Maria Teresa do Carmo de Noronha Guimarães Serôdio (Paraty), (November 7, 1918, Lisbon – July 4, 1993, São Pedro de Sintra) affectionately addressed as Baté by loved ones was a Portuguese fadista of aristocratic origin, becoming Countess of Sabrosa upon her marriage with D. José António Barbosa de Guimarães Serôdio, a great admirer of Fado, and an amateur guitarist with an uncommon level of sensibility.
She sings at festivals for family and friends at an early age, she had an edgy voice and a decided ability to perform fado. She becomes recognized on her trip on the fado circuit for her artistic expression, and begins to win over many genuine admirers in known fado circles.
She records her first single titled, “O Fado dos Cinco Estilos” in 1939.
In 1938, the National Broadcaster invited Maria to perform to then announcer D. João da Câmara’s listeners. She was accompanied by guitarist Fernando Freitas and by violist Abel Negrão. The show became so successful that she was invited to a weekly program of Fados and “Guitaradas” that was consequently on the air for 23 years.
Fados like “Fado da Verdade”, “Fado Hilário” and “Fado Anadia” were big hits that greatly please the general public, as well as other songs from her repertoire, including: “Nosso Fado”, “Fado Menor e Maior”, “Minhas Penas”, “Pintadinho”, “Pombalinho”, “Fado Rio Maior” etc…
In 1968 she relinquishes her post at the National Broadcaster but doesn’t cease to sing, continuing to do it in more private settings.
Some of her performances abroad include, but are not limited to: her 1946 visit to Spain, for the Festival of the Book Fair in Barcelona, invite by the Spanish Government to perform at the Ritz Hotel in Madrid, followed by performances in Brazil, performance in Monaco for Grace and Rainier, and in 1964 to London to perform on BBC.
Her perfect diction, her method of expression, perfect dominance of intricate figures, turned her into the creator of a style of her very own.
in “Lisboa no Guiness” by Victor Marceneiro
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 Maximiano de Sousa was known to the general public, as the diminutive “Max”, he was born in Funchal on January 20, 1918.
He learned how to become a tailor, and even after becoming an artist, he long maintained that profession. In 1936 he began working at night in a hotel bar in Funchal, in 1942 he was one of the founders of the Toni Amaral Band, where he was a singer and drummer.
In 1946 he joined his band mates on a trip to Lisbon where they were contracted to perform at the famous Cabaret “Nina”.
He began singing fado in 1948; his first hit was “Não digas mal dela” with music and lyrics by Armandinho and Linhares Barbosa respectively. The success of this song was so great that he began a solo career, which quickly became a success.
In 1949 he recorded his first album for “Valentim de Carvalho”, containing two songs that became his final springboard to stardom, “Noites da Madeira” and “Bailinho da Madeira”. It was the first of many hits that would follow such as: “A mula da cooperativa” “Porto Santo” “ 31” “ Sinal da Cruz” and many more. In 1952 he began a brilliant career as an actor, at the invitation of Eugénio Salvador he participated in a piece called “Saias Curtas”, the performance pleased and he later went on to play a role in many other pieces. In 1957 he left for the United States where he remained for two years, afterwards he begins another tour of Angola, Mozambique, South Africa, Brazil and Argentina. After the huge success of this tour he returned to Portugal, and launched a new track with equaled success, “Pomba Branca”.
Apart from being a singer, Max became a distinguished composer, many of his hits where his own compositions, but its worth noting his partnership with Artur Ribeiro in works like, “Vielas de Alfama”, “Noite” , “Rosinha dos Limões” etc…
This great singer, composer, author and musician left us in 1980.
Despite being brought up in Madeira, it was in Lisbon that Max evolved as an artist, and this was also in there that he reached the major successes of his career.
Max was a fadista from the Soul and represents a great piece of Lisbon’s culture
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 The enthusiasm that Teresa Silva Carvalho brought, during the greater part of her life, to singing, especially to fado, probably didn’t equal that of a hugely successful career full of hits. But, with an undoubtedly talented voice, she meets a rare criterion for composers and producers, and left behind a work of the highest level in popular Portuguese music.
The singing lessons Teresa took with teacher Maria Amelia Duarte D'Almeida show that facet of excited Teresa Silva Carvalho, who would show up for the class being taught to the pupil scheduled prior to her and would also stay after her lesson, all in an effort to learn more. D. Maria Amélia still tried to convince Teresa to leave fado, and to instead dedicate herself as a dramatic soprano, for which she had extraordinary gifts, but the singer showed one of the strongest features of her personality: the notion of independence.
With artistic activity aside, Teresa Silva Carvalho embraced having other vocations that would fulfill her ambitions.
Thus, she enrolled in a Hospitatlity course, which ultimately concluded, and by a coincidence of fate, she didn’t join the airline TAP, where she could have realized one of her biggest dreams, traveling.
The Hospitality course she had taken, allowed her to take advantage as a collaborator at the “Hotel Palace do Buçaco” and head of public relations at “Hotel Balaia”, in Algarve. These jobs, however, did not prevent her from constantly improving the brilliance of her career.
After the huge success of “O Rama, Que Linda Rama”, Teresa Silva Carvalho choose, voluntarily, a personal exile, far from artistic emerge, from her home in Lisbon to the home of her Great Grandfather in Cernache of Banjardim. She dedicated her self to reading, contemplation, and to the cultivation of flowers. She took many walks, and photographed constantly. Teresa Silva Carvalho leaves behind many unforgettable hits like, “Canção Grata” and “Amar”.
Career Timeline:
1956 At 18, she gave her first performance in Fão, Ofir, because of a shortage of “Banhistas”. She plays the accordion, and sings “Fado Hilário” and “ O Fado do Ciúme”, accompanied on guitar and viola by the mason and shoemaker of the village. Involved twice, on the program “Nova Onda” (New Wave), by Maria Leonor, where she sang “Sur Aio Vie e O Velho Fado do Castanheiro.”
1965 Traveled to Brazil, where she performs on TV for the first time. Acts in typical Portuguese restaurants. Receives, while still in Brazil, her first invitation to record. Back in Portugal, she is invited to perform in “Taverna do Embuçado”, owned by João Pereira Rosa, where she would be the primary figure for years.
1970 Receives an award from the Press, for the Revelation of 1969. She performs shows and records albums based on some of the biggest names in Portuguese literature. Vitorino produces and Teresa Silva Carvalho sings and records “O Rama” and “Que Linda Rama”, the greatest success of her career
In http://www.macua.org
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 Tony de Matos was born in Porto on September 28, 1924. His parents were actors of the “Companhia Desmontável de Teatro Rafael de Oliveira”, where Tony would start singing. In 1945, he sang on the “National Broadcaster”, but left shortly after. Three years later, through fadista Júlio Peres, he surprises the listeners of Café Luso, in Lisbon, where he would perform for two years.
In 1950, producer Manuel Simões brings him to Madrid to record his first album. “Cartas de Amor” becomes a huge hit. Other hits at the time were “Trovador”, “Ao Menos Uma Vez” and “A Lenda das Algas”. In 1952 he debuts at the theatre.
In 1953 he performs in Brazil for the first time. He had a 3 month contract in São Paulo, but would stay twice as long.
He went to Brazil in 1957 and would stay for 6 years. He opened “O Fado”, a typical restaurant and fado house, in Copacabana with Maria Sidónio. He would perform 6 or 7 times daily, prior to going and singing at his fado house in the evening. He continued to perform with great success on TV and radio.
In 1962 he recorded an album in Brazil that became a huge success, “Só Nós Dois”, "Procuro e Não Te Encontro", "Vendaval" e "Lado a Lado", are some of the songs from that album. The following year he returned to Portugal.
In 1964 he sold out the “Pavilhão dos Desportos” and made his cinematic debut in the film “A Canção da Saudade” by Henrique Campos.
On April 3, 1965 he received the artist of the year award from the “Imprensa da Música Ligeira” at the Pavilhão dos Desportos. Later that year he performed in the film "Rapazes de Táxis" (Taxi Boys) with Constantino Esteves and António Calvário.
In 1966 he entered a music festival held by television station RTP with the song “Nada e Ninguém”.
On February 8, 1969 he received an artist of the year award for the Fado category. Later that year he participated in the film “Bonança & Companhia”
In 1970 he participated alongside Isabel de Castro and Eugénio Salvador in the film “O Destino Marca a Hora" by Henrique Campos, where they sang songs like, "O Destino Marca a Hora", "Não Digas Que Me Conheces", "Digo Adeus à Saudade" and "Viver Sem Ter Amor".
In 1972 his film, “Derrapagem”, in which he both acts and produces, debuts in Moçambique. In 1974 he tours the United States, taking up residence there the following year. He went on to live there for 8 years.
Funda, em Lisboa, com os fadistas Carlos Zel e Filipe Duarte, o restaurante "Fado Menor".
In June of 1985 e is invited by Vitorino to his show at the Coliseum. Tony de Matos consequently recorded the album “Romântico”. In November of 1985 he gave his own concert at the Coliseum, in which Maria da Fé and Carlos Zel also performed. Later he participated in a series called “Humor de Perdição” by Herman José.
In 1988 he releases the album “Cantor Latino” where he sings songs by Rui Veloso, Fernando Tordo, Carlos Mendes, Paulo de Carvalho, Tozé Brito, Maria Guinot, João Gil and Rosa Lobato de Faria.
He died on June 8, 1989 at the Hospital de Santa Maria, in Lisbon, a victim of cancer. His concert at the Coliseum in November of 1985 was later edited onto DVD by RTP.
In wikipedia
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 It could be said that Manuel Martins Tristão da Silva (Tristão da Silva) is the first artist to take advantage of the mass media to achieve his own personal success.
Tristão da Silva was born in Lisbon, and identified with that very much, and would always carry that identity with him wherever he would go.
He began singing fado as a small child, at the matinee’s of the fado houses. This is how things would stay for many years, dividing his time between the amateur activity and work given to poor boys of the capital, first as an apprentice and then as a carpenter.
He ultimately booked his passage for success on the radio. The National Broadcaster, at the time, approved of more Fado-song or “Fado-pop” style, so Tristão da Silva changed his repertoire to better mirror that approval of style.
Through the influence and action of maestro Belo Marques, Tristão did a series of recordings that would become a sudden and overwhelming success, “Nem às Paredes Confesso” and “Maria Morena” contributing to the eventual succession of hits that followed him, ensuring that his work after the “National Broadcaster” would be successful.
His career had definitively launched, and it was based on a very personal style, characterized by his voice of basic seriousness, a beautiful tenor, great interpretation, and romanticism.
With songs like “Da Janela do Meu Quarto”, “Calçada da Glória”, “Aquela Janela Virada Pró Mar”, “Ai Se Os Meus Olhos Falassem”, the fadista established a solid reputation and conquered the hearts of many faithful fans.
Important Events:
1937 Contracted at the age of 9 to perform at “Café Mondego” in Lisbon.
1954 After years of performing in fado houses, he records his first bit hit: “Nem às Paredes Confesso”.
1955 Tour to Madeira.
1956 Traveled to Spain in order to record some albums. Tour to África.
1957 Was the second Portuguese artist to perform on RTP, on a program that was transmitted from the “Feira Popular de Lisboa”
1960 Tour to Brazil, that lasts 4 years, which includes performances in Bolivia, Chile, Paraguay, Argentina, Uruguay, and Peru. He went on to receive the honor of best attraction at the international music-hall in São Paulo.
1964 Because of Vasco Morgado’s insistence, he triumphantly returned to Portugal and became part of the cast at “Férias” in Lisbon. He would return to Brazil to take care of personal matters, returning to Portugal to sing on the fado house circuit.
He died in an automobile accident.
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