Where was Fado born?
About the origin of Fado, a lot could be said or written, a typical Portuguese musical style, it is thought that fado originated in the lundum, music of Brazilian slaves that would have reached us through sailors. Another hypothesis may have been through troubadours. medieval.
Cantigas de amigo reveal similarities with some recurring themes from Lisbon, just as the love songs have the romantic aura of Fado de Coimbra (sung exclusively by men), as it will be associated with the themes of love – performed in the famous serenades to the loved one – and the end of a life cycle that took place at the farewell to the University of Coimbra.
Considered intangible Heritage of Humanity by UNESCO since November 2011, and was always present in moments of socialization and leisure spontaneously especially in Lisbon, often associated with social contexts governed by marginality and transgression, in dubious environments frequented by prostitutes and sailors.
It is not known exactly the origin of Fado, however it may have originated from Arabic songs among the population that lived among the neighborhood of Mouraria in Lisbon after the Reconquista of Lisbon to the Moors. The fado singer is always accompanied by the famous Portuguese guitar and a viola classic that provides percussion, sometimes fado is “disputed” by two singers (in some cases improvising the verses), in which case it is called “Fado à”. stray “.
The figure of Maria Severa (1820-1846) remains the mythical representative of this Lisbon music from the mid-19th century, having even been the subject of a novel and play with her name, later adapted to the cinema by Leitão de Barros.
Already in the 20th century, Fado has in Amália Rodrigues (1920-1999) its ambassador on the biggest stages of the world, where her voice interpreted songs like “Povo Que Lavas No Rio”, “Foi Deus”, and “Vou Give Pain a Drink ”.
Other Fadistas that made the history of this musical style include Carlos do Carmo, Carlos Ramos, Alfredo Marceneiro, Fernando Maurício, Hermínia Silva, Lucilia do Carmo, Maria Teresa de Noronha, Antonio Mourão, Rodrigo, Tristão de Silva, and Maria Alice, among many others.
In the 80s and 90s, new generations emerged, of which Nuno da Câmara Pereira, Dulce Pontes, and Camané, among others, stand out.
The fado of Coimbra will be associated with the themes of love – performed in the famous serenades to the loved one – and the end of a cycle of life concretized in the farewell of the university.
In this variant, the name of the guitarist Artur Paredes – father of Carlos Paredes – stands out, an innovative interpreter of the coimbrão style of playing guitar. Coimbra’s big names include Edmundo Bettencourt (1889-1973), António Menano, and Armando Goes, among others.