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Ney Matogrosso

Благодаря распродаже в Союзе открыл для себя нового бразильца - Ney Matogrosso. Строго говоря по происхождению он не бразилец - родился в Парагвае, но потом перебрался в Сан Паулу, и поет по-португальски. По 99 рублей ухватил два альбома Матогроссо - Batuque (2001) и Ney Matogrosso interpreta Cartola.(2002) (EmArcy) На первом альбоме он поет бразильские популярные песенки 20-40х- годов. Среди них Tico-Tico (ту что Далида пела) и Bamboleo. Ну а на втором, как следует из названия, Матогроссо поет песни Картола. Беда что все сайты что мне попались о Ney Matogrosso и Cartola на португальском, а я им не владею. Так что подробности о том и другом не привожу.

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( 11 comments — Leave a comment )
kcin_kcin
Dec. 27th, 2006 07:33 pm (UTC)
Ney Matogrosso (which real name is Ney de Souza Pereira)
Написано, кстати, что родился он 1 августа 1941 года в Bella Vista, Mato Grosso в Барзилии. Скорее всего, по месту рождения и взял впоследствии себе псевдоним... А вот и текст на английском...

Part I (to be continued)

An uncommon artist with an uncommon sopranino voice, Ney Matogrosso fell in the Brazilian popular music scene like a bomb in the '70s aboard the Secos e Molhados. The end of the group marked the beginning of a fertile and successful solo career in which he began exploring his sensuous and charismatic persona through satiric and ironic repertories. As time passed, he substituted self-contained and deeply sensitive interpretations of classics for the popular and classical Brazilian music. Along with his representative and prolific solo discography, for which he received three platinum and three gold records, Matogrosso recorded in Itália with Astor Piazzola, performed in Argentina, Uruguay, participated in two Montreux Jazz Festivals (Switzerland), and toured Portugal several times. He also performed in Israel and the U.S., but always refused invitations to develop an international career. Matogrosso also worked as an actor in Sonho de Valsa (by Ana Carolina, the director, not the singer/composer) and Caramujo Flor (short subject by Joel Pizzini), and directed shows by RPM, Cazuza, and Simone.

genyur
Dec. 28th, 2006 07:43 am (UTC)
Re: Ney Matogrosso (which real name is Ney de Souza Pereira)
А по поводу Парагвая - я не внимательно вчитался в португальский текст - Bella Vista - находится на границе Бразилии и Парагвая
kcin_kcin
Dec. 28th, 2006 07:45 am (UTC)
Re: Ney Matogrosso (which real name is Ney de Souza Pereira)
Иначе было бы непонятно, зачем испаноязычному парагвайцу переходить на португальский. Хотя в жизни случается и не такое...
genyur
Dec. 28th, 2006 07:51 am (UTC)
Re: Ney Matogrosso (which real name is Ney de Souza Pereira)
Вот именно, жизнь непредсказуема, как и погода. Вот польскоговорящая певица всю жизнь прожила в СССР и пела и поет по-русски.
kcin_kcin
Dec. 28th, 2006 07:55 am (UTC)
Re: Ney Matogrosso (which real name is Ney de Souza Pereira)
Это ты про Анну Герман?
genyur
Dec. 28th, 2006 08:08 am (UTC)
Re: Ney Matogrosso (which real name is Ney de Souza Pereira)
Я это о Эдите Пьехе
kcin_kcin
Dec. 27th, 2006 07:34 pm (UTC)
Part II

Arriving in Rio de Janeiro in 1966, Matogrosso became a hippie leather artisan and divided his time between Rio, São Paulo, and Brasília, where he was a close friend of singer/composer Luli. Through her he met João Ricardo, who had a vision for a groundbreaking group and was searching for a high-pitched male voice. Invited by Ricardo, Matogrosso moved to São Paulo where he spent one year dedicating himself to exhaustive rehearsals, artisanship, and theater plays. With the explosive success of Secos e Molhados and the group's final dissolution, Matogrosso started his solo career exploring his unusual voice timbre, his mesmerizing scenic persona, and his androgynous visuals, enhanced by innovative and exotic costumes. A second solo album, Água do Céu/Pássaro, was supported by the show Homem de Neanderthal, in 1975, with which Matogrosso opened in Rio de Janeiro, drawing both raves and packed houses. "Barco Negro" and "Homem com H" appeared amongst considerable polemics aroused by the usual conservatives on duty. In that period, he worked with Astor Piazzola in Milan, Italy, where he recorded a double single with the Argentinean composer. A cleaner Matogrosso recorded Bandido in 1976, having his first national hit as a solo artist with "Bandido Corazón," written especially for him by Rita Lee. While Matogrosso wanted to challenge prejudices and preconceptions with his satiric, ironic, and sensuous performances and choices of repertory, he also wanted to be regarded as a serious and sensitive interpreter. He tried to gain this respect with his memorable renditions of songs by complex composers like Chico Buarque: "Deixa a Menina," "Tanto Amar," "Até o Fim," and the album Um Brasileiro (1996). But he also wanted to be regarded as an evolving and open-minded artist associating himself to the nascent Brazilian rock of the '80s, recording "Por que a Gente é assim?," "Pro dia nascer Feliz," "Fogo e Risco," and "Tão Perto." In 1986, with the show A Luz do Solo,Matogrosso abandoned all fantasies and focused exclusively on his mature singing, passionately revisiting classics of Brazilian popular music like "Dora," "Nem Eu," "Retrato em Branco e Preto," "Último Desejo," "Três Apitos," "Da Cor do Pecado," "No Rancho Fundo," "Modinha," "Autonomia," and "Na Baixa do Sapateiro." Accompanied by the best Brazilian musicians since beginning as a solo artist, he surpassed all expectations with the show Pescador de Pérolas (1987), in which he had Raphael Rabello, Arthur Moreira Lima, Paulo Moura, and Chacal both in the live performances and on the album. In 1992, he also had splendid accompaniment, this time by the group Aquarela Carioca, in his show and album As Aparências Enganam (released the next year), where he performed "El Manisero." In 1997, Matogrosso recorded Cair da Tarde, an ambitious project devoted to the works of Tom Jobim and Heitor Villa-Lobos. Having proven his point earlier in life, Matogrosso has dedicated himself to his deep renditions of the classics of Brazilian popular music. This spirit dominates Batuque (2001), in which he focuses on sambas, choros, and Carnival marchinhas of the '30s and '40s
genyur
Dec. 28th, 2006 07:37 am (UTC)
Спасибо, у тебя оказалось больше умения в поиске в интернете. Хотя если честно, детального поиска я не устраивал -было некогда. А певец мне понравился, особенного его unusual voice timbre.
genyur
Dec. 28th, 2006 08:07 am (UTC)
Я все же нашел информацию о Cartola. Оказался величайшим композитором самбы: Regarded as the greatest samba composer of all times by a massive number of musicians, Cartola was born in Rio de Janeiro and spent childhood at a middle-class neighborhood. Financial distress caused the large family to move to Mangueira hill, where a small favela (slum, shantytown) was being started. There, he made friends with Carlos Cachaça and other locals, being initiated into the world of roguery and samba. He got a job as assistant construction worker and began wearing a hat to protect from the cement that would fall down from above. It was a bowler hat; nonetheless, the nickname Cartola (Top Hat) really stuck. With his buddies, he created the Bloco dos Arengueiros (percussive group that goes out in Carnival), whose members founded the Estação Primeira de Mangueira in 1928 - the green-pink samba school, name and colors chosen by Cartola, who also wrote the school’s first samba, "Chega de Demanda". His music became popular in the 30s through the illustrious voices of Francisco Alves, Mário Reis, Silvio Caldas and Carmen Miranda. In the early 40s, however, Cartola vanishes from the scene. Little is known about that period, besides the fact that he and his Mangueira friends split, and he was depressed after the death of his companion Deolinda. It was said that he had passed on. Eventually, journalist Sergio Porto found Cartola washing cars for a living, in 1956. Porto proceeded to promote Cartola’s comeback, having him perform on the radio and make new songs. In 1964, Cartola and his new wife Zica opened the bar-restaurant-theater Zicartola, which featured live samba and good food, gathering the middle-upper-class and the favela crowds. As Zicartola closed down, the composer went on as a civil servant, while he kept writing new songs. He made the first of his four solo albums in 1974, pushing up his career with instant classics like "As Rosas Não Falam", "O Mundo É um Moinho", "Acontece", "O Sol Nascerá" (with Elton Medeiros), "Quem Me Vê Sorrindo" (with Carlos Cachaça), "Cordas de Aço" and "Alegria". Still in the 70s, Cartola moved from Mangueira to Jacarepaguá, where he spent his last years.
kcin_kcin
Dec. 28th, 2006 08:15 am (UTC)
Кстати, ты никогда не думал о том, чтобы смотаться в феврале в Рио-де-Жанейро и посетить карнавал?
genyur
Dec. 28th, 2006 08:28 am (UTC)
Никогда - далеко и дорого. И я очень не люблю долго лететь, вообще долгий путь меня выводит из равновесия.
( 11 comments — Leave a comment )