Fado, Pt 2 . . .
This story got its spark during July 2024 when only two weeks after moving to Lisbon I was deeply immersed in my intensive Portuguese Language class at Novo Universidade. Extracurricular cultural events were part of the syllabus and of particular interest was an afternoon presentation on the history of Fado music including some performances. However, this event was listed for Level B1 and above. I was in A2 (and should have been in A1!)
Now, as I have previously confessed: I love Fado! Though the level I had been admitted to was astronomically above my pay grade, I . . . well, let’s say I invited myself. Happily no one objected. Quite the opposite. Joana Teixeira, the organizing staff member for these events, had done due diligence and so “you know who” was quickly drafted into handling the photo documentation. (If only I had known I would’ve brought my real camera and as such these images were all done with my iPhone. At any rate, my pants have now dusted the floor of yet another event space, this time internationally so!)
A guitarra portoguesa de assinatura da Luis Ribeiro
The history presentation was accompanied by slides and old film clips. I didn’t understand it all but, still, I took in further insights that added to what I already knew. As for the performance section, well, music is its own language and one I easily relate to.
For those not in the know, Fado is a genre that originated in the streets of 19th Century Lisboa. Not unlike the American Blues, it is a confessional style of music, usually melancholic, that sprung from the troubles of the poor and dispossessed. It moved from the crowded, narrow streets of Lisboa’s Alfama section to that area’s brothels before its popularity saw it spring onto legitimate stages and onto worldwide recognition.
As a folk oriented genre, its purest form it is spare, unembellished and unamplified, featuring a solo singer, a Fadist or Fadista, and two sometimes three guitars. One of those guitars is unique12-string instrument to Portugal and thus called the Guitarra Portoguesa. It is constructed with a slim neck which demands a talented musician and its distinctive sound, that usually acts in response to the singer, is one that perfectly accompanies this genre filled with beautiful melodies reflecting sadness, loss and despair. It is fair to note, though, that Fado is not ALWAYS sad and sometimes engages the audience with songs of joyful togetherness encouraging singalong.
The examples performed by a classic trio of artists were outstanding. The fadista was the talented and beautiful Margarida Arcanjo, accompanied by Luís Ribeiro, guitar Portoguesa guitarra (who had played with the legendary Amalia Rodriguez) and João Nunes on fado guitar.
Sr. Ribeiro also designs & builds his own Guitar Portuguese’s and I can attest the one I saw stunned from the moment he removed it from its case.
At any rate, this experience was a real in-depth glance at this music that has intrigued me for so long. Subsequently, it also led to a full evening of performances and delicious food that I would never have encountered otherwise. But that’s for another post. In the meantime, there are two short vids below which I recorded to give you a flavor.
