- Amália Rodrigues
Amália da Piedade Rebordão Rodrigues, GCSE, GCIH, pron. IPA2|ɐ'maliɐ ʁu'dɾigɨʃ, (
July 23, 1920– October 6 1999) was a Portuguese singer and actress. Born in Lisbon, official documents give her date of birth as July 23, but Rodrigues always said her birthday was July 1 1920. She was born in the rua Martim Vaz "(Martim Vaz Street)", freguesiaof Pena, Lisbon. Her father was a trumpet player and cobbler from Fundãowho returned there when Amália was just over a year old, leaving her to live in Lisbon with her maternal grandmother in a deeply Catholic environment until she was 14, when her parents returned to the capital and she moved back in with them.
She was known as the "Rainha do Fado" ("Queen of Fado") and was most influential in popularizing the
fadoworldwide. She was unquestionably the most important figure in the genre’s developmentFact|date=February 2007, by virtue of an innate interpretive talent carefully nurtured throughout a 40-year recording and stage career. Rodrigues' performances and choice of repertoire pushed Fado’s boundaries and helped redefine it and reconfigure it for her and subsequent generations. In effect, Rodrigues wrote the rulebook on what fado could be and on how a female singer—or Fadista—should perform it, to the extent that she remains an unsurpassable model and an unending source of repertoire for all those who came afterwards. Rodrigues also remains the sole truly international star to have ever come out of PortugalFact|date=February 2007, with an extensive international career between the 1950s and the 1970s, although in an era where such efforts were not as easily quantified as today. Other well-known international fado artists such as Madredeus, Dulce Pontesand Marizahave come close, however.
The early years
After a few years of amateur performances, Rodrigues’ first professional engagement in a fado venue took place in 1939, and she quickly became a regular guest star in stage revues. There she met
Frederico Valério, a classically-trained composer who, recognising the potential in such a voice, wrote expansive melodies custom-designed for Rodrigues’ voice, breaking the rules of Fado by adding orchestral accompaniment. One of this composed fados was Fado do Ciúme.
Her Portuguese popularity began to extend abroad with trips to
Spain, a lengthy stay in Brazil(where, in 1945, she made her first recordings on Brazilian label Continental) and Paris(in 1949). In 1950, while performing at the Marshall Plan international benefit shows, she introduces "April in Portugal" to international audiences (under its original title "Coimbra").
In the early fifties, the patronage of acclaimed Portuguese poet
David Mourão-Ferreiramarked the beginning of a new phase: Rodrigues sang many of the country's greatest poets, and some wrote lyrics specifically for her.
The middle years
At the end of the 1950s, Rodrigues took a year off. She returned in 1962 with a richer voice, concentrating on recording and performing live at a slower pace. Her comeback album, 1962's "Amália Rodrigues", was her first collaboration with French composer
Alain Oulman, her main songwriter and musical producer throughout the decade. As Frederico Valério before him, Oulman wrote melodies for her that transcended the conventions of Fado. Rodrigues did not shy away from controversy: her performance in Carlos Vilardebó’s 1964 arthouse film "The Enchanted Islands" was better received than the film, based on a short story by Herman Melville, and her 1965 recording of poems by 16th century poet Luís de Camõesgenerated acres of newspaper polemics. Yet her popularity remained untouched. Her 1968 single "Vou Dar de Beber à Dor" broke all sales records and her 1970 album "Com que Voz", considered by many her definitive recording Fact|date=February 2007, won a number of international awards.
The later years
During the 1970s, Rodrigues concentrated on live work, and embarked upon a heavy schedule of worldwide concert performances. During the frenetic post-April 25, 1974 period she was falsely accused of being a covert agent of the
PIDE, causing some trauma to her public life and career. (In fact, during the Salazar years, Rodrigues had been an occasional financial supporter of some communists in need.) Her return to the recording studio in 1977 with "Cantigas numa Língua Antiga" was received as a triumph. The 1980s and 1990s brought her enthronement as a living legend. Her last all-new studio recording, "Lágrima", was released in 1983. It was followed by a series of previously lost or unreleased recordings, and the smash success of two greatest hits collections that sold over 200,000 copies combined.
Despite a series of illnesses involving her voice, Rodrigues continued recording as late as 1990. She eventually retreated from public performance, although her career gained in stature with an official biography by historian and journalist Vítor Pavão dos Santos, and a five-hour TV series documenting her fifty-year career featuring rare archival footage (later distilled into the 90-minute film documentary, "The Art of Amália"). Its director,
Bruno de Almeida, has also produced "Amália, Live in New York City" (a concert film of her 1990 performance at New York City Town Hall).
October 6 1999, Amália Rodrigues died at the age of 79 in her home in Lisbon coord|38.716269|-9.154921. Portugal's government promptly declared a period of national mourning. Her house (in "Rua de São Bento") is now a museum. She is now buried at the National Pantheon alongside other Portuguese notables.
Rodrigues' parents had nine children: Vicente and Filipe, José and António (who both died in childhood), Amália, Celeste, Aninhas (who died at sixteen), Maria da Glória (who died shortly after birth), and Maria Odete. In 1940 she married Francisco Cruz, a lathe worker and amateur guitar player from whom she separated in 1943 and whom she divorced in 1946. In 1961, in
Rio de Janeiro, she married César Seabra, a Brazilian engineer; they remained married until his death in 1997. She had no children.
* In 2007 she came in 14th in
Portugal's election of Os Grandes Portugueses(The Greatest Portuguese).
* [http://www.amalia-rodrigues.com/ Amalia Rodrigues biography, fado, videos]
* [http://www.amalia.com/ Amália: uma estranha forma de vida]
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Amalia Rodrigues — Amália Rodrigues Amália Rodrigues Graff d Amália Rodrigues, Lisbonne Nom Amália da Piedade Rebordão Rodrigues Naissance … Wikipédia en Français
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Amalia Rodrigues — Amália Rodrigues. Amália Rodrigues, mit vollem Namen Amália da Piedade Rebordão Rodrigues (* 23. Juli 1920 in Lissabon; † 6. Oktober 1999 ebenda), war die wohl bedeutendste Fado Sängerin. Sie wird auch als „Königin des Fado“ bezeichnet. Amália… … Deutsch Wikipedia
Amália Rodrigues — (1920–6 de octubre 1999) fue una cantante y actriz portugesa. Nacida en Lisboa, su nacimiento oficial se refleja el día 23 de julio de 1920, pero Amália siempre dijo que había nacido el día 1 de julio. Es conocida como La Reina del Fado siendo la … Enciclopedia Universal
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Rodrigues (surname) — Rodrigues is a common surname in the Portuguese language. It was originally a Patronymic, meaning Son of Rodrigo or Son of Rui . Its Spanish equivalent is Rodríguez .It may refer to: *Amália Rodrigues, Portuguese Fado singer *Américo de Deus… … Wikipedia
Rodrigues — ist ein portugiesischer Familienname. Die ursprüngliche Bedeutung des Namens ist Sohn des Rodrigo (die Endung es dient zur Bildung von Patronymen). Die spanische Form des Namens ist Rodríguez. Bekannte Namensträger Acácio Rodrigues Alves… … Deutsch Wikipedia
Amalia — may refer to:PeopleThe feminine name Amalia: *Amalia (given name) (includes list of people with this name)People known simply by the name Amalia: * Amalia of Oldenburg (1818–1875), Queen of Greece * Amalia of Solms Braunfels (1602–1675), Dutch… … Wikipedia