Mariza at Summerstage/Central Park

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The Stage at Central Park

Summerstage at Central Park

June 23, 2018

New York, NY

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Mariza

On her debut Summerstage appearance,  Angolan-born and Portugal-based Mariza took to the stage backed by a five-piece band (accordion, percussion, Portuguese guitar, acoustic guitar and bass) to promote mostly material from her self-titled album (Warner Portugal, 2018), which of this writing was not yet available in the US market even though she mentioned it several times during the show.

The set opened with “Sou do Fado,” a traditional tune that has become a staple on her performances – it is a longing number in which she stretches her vocals, utilizing the melisma that are so common to the genre.  She then followed by a ballad  with few fado characteristics – something that has become more and more common on her records starting from 2008’s Terra, which included tunes by  Brazil’s Ivan Lins and also a cover of Charlie Chaplin’s “Smile,” which she performed during the tour in support of that album that year.

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Mariza

Among the highlights was an original tune named “Ja Passou,” a ballad dedicated to her young son. The expression is common in Portugal, and it means that the “pain is over” (the term was actually used on the Luso-Portuguese version of “Let It Go” from the soundtrack of the movie “Frozen”), and it is usually told to young children when they get hurt in some way.

Hearing Mariza in an outdoor setting was quite refreshing, because in previous U.S. stops she mostly performed in theaters, and was interesting to hear her outdoors, and wondered how the outside temperature would affect her singing.  The truth is, it didn’t, and she sang with the same potency and passion that she has delivered in previous shows.

 

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Preview: Mariza At Town Hall and NJPAC

Mariza

Saturday, October 15 at Town Hall

Sunday, October 16 at NJPAC (featuring Bebel Gilberto)

For more information visit Mariza.com

By Ernest Barteldes

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Back in 2009 I was fortunate to be in the audience at Carnegie Hall to hear Mariza sing in support of Terra, (2008) an album that was a bit of a crossover for her – in addition to the traditional fados that caused her to be called “the next Amalia Rodrigues,” she included songs like Charlie Chaplin’s “Smile” (backed by Gonzalo Rubalcaba) and The Beatles’ “Yesterday” with a jazz-inflected treatment that was quite different from what you hear on the streets of Alfama.

At the time I was not aware that she was about to embark into a half-decade hiatus to dedicate herself to starting a family . I was glad that to hear she was ready to go back on the road when I was assigned to write a preview of her Krakow debut earlier this year, and was eager to hear her in the US again.

I guess I am getting my wish.

Mariza returns with “Mundo” (Nonesuch, 2016), a disc that  takes her music to yet a further direction, embracing pop, jazz and other genres with a little help of several guest artists who sometimes take the spotlight entirely away from her.

Produced by Javier Limon, the album blends more traditional fados with more modern grooves – the first example being “Paixao,” a ballad that begins with a more classical feel then incorporates electric bass and percussion – something not very commonly heard In an album of this genre – the impression I had was as if Queen’s Brian May had decided to produce the tune then decided not to multi-track his legendary Red Special guitar into it. Another great moment is “Padoce de Ceu Azul,” a ballad with a laid-back feel that gives a chance to hear Mariza outside of the usual dramatic sound of fado.

Fans of Lisbon’s signature sound should not worry – most of the tunes keep into the format, but I agree that Mariza should go beyond their comfort zone as Cristina Branco, Ivete Sangalo and others have done before her. But she is not just expanding, but bringing fado to the 21st Century – “Sem Ti” is clearly inside the genre but cleverly brings other elements to it – without completely breaking away.

I am not sure how Mariza is going to bring all the music together on a live format, but am certainly curious. She always has the ability to surprise audiences with unexpected surprises – at Carnegie Hall she had all the mikes turned off and did a few songs acapella the way it is done back home.

I can assure everyone in the audience – wherever they were – heard every note.