Mariza elogiada pelo The Guardian

www.cotonete.clix.pt, 15 de Maio de 2013

O concerto de Mariza no Barbican de Londres foi elogiado pelo The Guardian.

O autor do artigo, Robin Denselow, dá quatro estrelas em cinco ao concerto da fadista na sala londrina. Denselow faz a comparação do novo espectáculo de Mariza com um concerto anterior da cantora, sobre o qual diz que «havia um excesso de intensidade». O jornalista diz que Mariza aparece «muito mais relaxada» e com um «repertório mais variado», tratando com «emoção fadista» canções de outros géneros tais como 'Smile', popularizada por Nat King Cole.

Denselow também faz uma comparação com Ana Moura, de quem diz que «é a maior rival internacional de Mariza», e que tem juntado com sucesso «o fado tradicional com o pop do ocidente». O artigo fala da introdução da bateria como um dos instrumentos que acompanha Mariza em palco, destacando um «solo de bateria que não tem nada a ver com o fado».

O autor do artigo fala ainda da figura da cantora, a qual parece «ainda mais magra e alta» do que antes, depois da pausa de quase dois anos dedicados à maternidade.

Mariza – review

by Robin Denselow

The Guardian, 14 May 2013

Lined up across the stage was the classic fado backing trio of Portuguese guitar, acoustic guitar and acoustic bass guitar, and in the darkness came the distinctive and declamatory voice of the singer who has done the most to bring Portugal's traditional answer to the blues to a new, global audience. Mariza has been away for nearly two years, taking time off, she explained, to have a baby and get married; dressed tonight in a long black gown, she managed to look even thinner and taller than before.

There was no new material in this set, which began with songs from her last album Fado Tradicional, from 2011, and included material from four previous albums. But there were, however, changes in her style and presentation. Her closest international rival, Ana Moura, has been popularising fusions of fado and western pop, and Mariza introduced a drummer for several songs; there was even a decidedly non-fado drum solo towards the end. On a more positive note, she had calmed and varied her performance. Her last London appearance was marred by constant full-tilt intensity, but here there were passages where she sounded far more relaxed, as on Meu Fado Meu. Much of her set consisted of traditional fado, in which new lyrics are added to traditional melodies, but she included a startling demonstration of musical fado, in which songs of all kinds are treated with the emotional intensity of great fado. The encores included an unexpectedly effective fado version of the Nat King Cole weepie Smile, sung in English.

It was a good night, too, for Scottish singer-songwriter Alasdair Roberts, who opened with a gently compelling solo set matching jaunty finger-picking guitar work with bleak lyrics on The Merry Wake and other songs from his latest album.