FADO is a Portuguese musical style. It is usually sung by one person, the “FADISTA”, joined by a classical guitar called, which in FADO world is called viola and a Portuguese guitar.
FADO has been considered a CULTURAL AND IMMATERIAL HERITAGE by UNESCO since November 2011.
The word FADO comes from the Latin "FATUM", "DESTINY "(luck, fate).
The origin of FADO in Lisbon goes back to the Moors, but in explanation it is not 100% proven. At the beginning of the 19th century, FADO was known in the Algarve, the last Arab stronghold in Portugal.
The name FADO, is said to come from Ireland where the singer had the name "FAITH", or there are those who defend the Scandinavian origin "FATA", which means dressing, composing, which would have been born in the old French "FATISTE", poet.
In another theory, also not completely proven, its popularity emerges in the 17th and 19th centuries. However, FADO became known after 1840, in the streets of Lisbon. At that time only "FADO MARINHEIRO" (Sailor FADO) was known, as well as "CANTIGAS de Levantar Ferro” (Lifting Iron Songs, a Portuguese terminology, used by sailors, to rock the boat) "CANTIGAS DO DEGREDO" (Exile Songs), or "CANTIGAS DAS FAINAS" (Fishing Songs), sung by the sailors at the bow of the ship. The oldest FADO is the "FADO MARINHEIRO", and it is this FADO that will become a model of all genres FADO. Later on emerged as "FADO CORRIDO" and "FADO COTOVIA".
With FADO the FADISTAS emerged, with their very peculiar way of dressing, with unconventional and even challenging attitudes, who found themselves in frequent fights with rival groups.
A FADISTA, or FAIA, from 1840 would be recognized for his way of dressing.
During the 30s and 40s, FADO was designed for the general public through cinema, theatre and radio, making it somehow more commercial and less from local Neighborhood. Like this way O or A FADISTA, is born as an artist and not as a troublemaker, making this art come out of the alleys and vielos against a more affluent public, who could enjoy the cinemas and theatres, because of them social status.
Such was the success that “CASAS de FADO” was born and with them the launch of professional FADO artists. In order to be able to sing in “CASAS de FADO”, however, a professional license and an endorsement sought by the “Censorship Commission” were needed, as these houses provided a convivial environment between lyricists, composers and interpreters.
In the mid-20th century, FADO began to conquer the world, becoming quite famous. At the time, the FADISTAS were dressed in black. And in the silence of the night, with the all mystery that surrounds her, she gave herself to hear, with a “Alma (Soul) that knows how to listen”, these songs that speaks to us, of the deep feeling of the Portuguese Soul. And this is the kind of FADO that makes Portuguese Guitar cry…
THE FADISTA sings the suffering, the “HEALTH” of times gone by, the HEALTH of a lost love, the tragedy the disgrace, the fate the destiny, the pain, love and jealousy, the night, the shadows, the love, the city, the miseries of life, criticism of society ... In contrast to the melancholic content, the FADO compass conveys an encouraging of hope and this contrast contributes to the fascination of FADO. It is believed that the expression “Silêncio que se vai cantar o FADO (Silence that FADO will be singing)” is born here, in this way, into the magic Lisbon Night.
Mariza, FADISTA, world renowned said in MEO ARENA (Altice, today) in December 2015 about FADO:
“My friends, those who are not very knowledgeable about FADO, always say, FADO is very sad, and I always say, no FADO is not a sad song, FADO is a song that speaks about feelings of life, speaks about the sadness of longing, about melancholy, about love, about lost loves jealousy, but also about contentment and joy.”
The certainty is that FADO is not imported, it is a historical and cultural fusion that took place in Lisbon, which arises in the second half of the 19th century, lulled by romanticism, expressing the sadness of a people, their difficulty, but capable of induce hope.
"Melhor de Mim" (Best of Me)
written by: AC Firmino
music: Tiágo Machado
Singer: Mariza
Today, the seed that sleeps on the ground
And hides in the dark that it holds
Tomorrow a flower will be born
Although the hope of the light is scarce
The rain that wets and passes by
In a drop will bring love
I am also waiting for the light I let myself here where the shadow seduces I am also waiting for myself Something tells me that the storm will pass It needs to loose to win afterwards And even without seeing, believing
It is life that goes on and does not wait for us Each step that we take forward Walking without fear of making mistakes I believe that the night will ever become a day And the glow that the sun eradiates Will always shine upon me
I break the shackles in this regret of mine
If I'm reborn at each moment My destiny in life is greater
I'm also going in search of light I leave this place where the shadow seduces I am also waiting for myself Something tells me that the storm will pass One needs to loose to win afterwards And even without seeing, believing
It is life that goes on and does not wait for us Each step that we take forward Walking without fear of making mistakes I believe that the night will ever become a day And the glow that the sun eradiates Will always shine upon me
I know that the best of me is to come I know that the best of me yet is to come I know that the best of me is to come
Ó Gente da Minha Terra (People of My Home Land)
Written by: Amália Rodrigues
Singers: Mariza
Is mine and yours this FADO Destiny that keep us tide No matter how much it is denied By the strings of a Guitar (Portuguese Guitar)
Whenever one hears a groan Of a singing Guitar
I instantly be lost With a desire to weep
Oh People of my Home Land
Now I could understand This sadness which I carry on Was from you that I received
And it would seem tenderness If I let myself be soothed My anguish would be greater My singing less sadder
Oh People of my Home Land
The uncertainty of the beginning of FADO there are two theses. The first defended by musicologist Rui Vieira Nery, who argues that FADO was born quite far from Lisbon, and the second by the researcher, Paulo Caldeira, who states that FADO began to be sung in the so-called “CASAS de FADO”, in Alfama, Castelo , Mouraria, Bairro Alto, and Madragoa. Its bohemian and ordinary origins come from the Tabernas (Taverns) and brothels, from the environments of orgy and violence in the poorest neighborhoods of Lisbon. In the eyes of the Church, FADO was not well regarded.
And that early tried to prevent its evolution. The Tabernas (Taverns) were, at that time, the meeting place for Nobleman, artists, vegetable workers, popular and foreigners, who met on NIGHTS of FADO VADIO, in other words, non-professional FADO.
The first known Cantadeira, or FADO singer, was MARIA SEVERA, who sang and played guitar in the streets of Mouraria, especially in Rua do Capelão. He was a lover of the Count of Vimioso and this novel originated several themes in FADO.
However, the first FADISTA with international projection was ERCÍLIA COSTA, although forgotten with time.
The most sung themes in FADO are HEALTH, nostalgia, jealousy, the little stories of everyday life in typical neighborhoods and bullfighting. These were the themes that were allowed by the SALAZAR dictatorship, but it also allowed the tragic FADO, of jealousy and passion, resolved in a violent and bloody way and of regret.
The classic FADISTAS at the time were, Carlos Ramos, Alfredo Marceneiro, Maria Amélia Proença, among others.
Modern FADO, so to speak, imposes itself with Amália Rodrigues, it was with lyrics by great poets, such as Luís de Camões, José Régio, Pedro Homem de Mello or even Ary dos Santos, among another famous Portuguese poets, She sung her FADO and later other FADISTAS, following these steps, among them Carlos do Carmo, Dulce Pontes and the great Empress of modern FADO, Mariza, choose the same path.
Born in Lisbon, FADO is known worldwide sung with the FADISTA joined by the Portuguese Guitar and by Viola (classic guitar). In our days they known as well for being often accompanied by musical instruments, unconventional to their original line, thus introducing in their accompaniment by violin, cello, and even orchestra, but it does not dispense with the sound of the Portuguese guitar, as well like the viola, although the most daring leave the Portuguese guitar aside, perhaps for lack of means to acquire it or even for not knowing how to play it, which will be the most certain.
When we talk about FADO, we talk about Lisbon, but also, we should not forget about FADO de COIMBRA. Accompanied by a viola (classic guitar) and the Coimbra Guitar.
The tuning and sonority of the Guitarra de Coimbra are different from that of the Guitarra de Lisboa. The costume used also differs greatly from the typical costume of the FADISTAS of Lisbon. Wearing with her black student capes from the University of Coimbra, a costume that inspired Joanne K. Rowling, a famous writer for the Harry Potter books, to transfer them to her little Magician adventure novels as a student.
Although the FADO is Alfacinha (name given for the people who born in Lisbon), belonging to the Seven Hills of Lisbon, throughout this World and without Lusitanian connections, there are many FADISTS expressing themselves in the language of Camões, such as “Fado Para 2”, sung by FADISTA, Holland Iris Feijen or the Japanese, Taku, Cao Bei from China, interpreting well-known themes like “Barco Negro” and “Lua”.
The Portuguese Guitar and or FADO, also evolved, in its form of introduction in other musical styles, such as Heavy Metal. Where we can find Moonspell with Carminho, Ricardo Gordo or Wallece Oliveira, leaving the Master and Professor of Portuguese Guitar, Mr. Carlos Paredes, proud.
Top Right to Left: Casa de Fado and Nuno da Camera Pereira
Bottom Right to Left: Adelaide Beirão and Carlos do Carmo
