Customer Reviews

Corpo Illuminado

5 star:		(5)
4 star:		(0)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

I have to respectfully disagree with a reviewer below who feels that the musicianship and arrangements on this recording are effectively `preventing the musicians from expressing the feeling that makes the fado a special art form'. On the contrary, I think that the beautiful arrangements, so masterfully executed by Cristina's accompanists, rather than getting in the way, frame her voice and delivery with grace and perfection - and her voice, in my opinion, is one of the most expressive you're likely to come across. Despite the dexterity and technique displayed by the players here, the arrangements are actually fairly unadorned - there's no overdubbing that I can hear, just two incredible musicians pouring their souls into their playing, supporting and augmenting and complementing Cristina's lovely voice. One of the editorial reviews makes mention of Dulce Pontes - a stunningly talented artist who has her roots in fado, but has taken her art beyond the genre's limitations. I think Cristina's work is the closest to the traditional form and delivery of fado of any of its contemporary practitioners.

There is beautiful, expressive poetry to be found in these songs - sung in Portuguese, but with French and English translations thoughtfully provided. Cristina draws her program from various sources, including one poem by Fernando Pessoa, Portugal's (literally) multi-faceted gift to the world [check out Bévinda's album of settings of his poetry, PESSOA EM PESSOAS - it's stunning]. Cristina's voice is simply breathtaking - its power and beauty and emotion will draw you in immediately, and when the disc is over, you'll be wishing it could go on and on (just hit the repeat button, as if you'll need any encouragement...). Custodio Castelo's Portuguese guitar is delicate, precise, and never overbearing - he also wrote several of the settings. The bass guitar of Fernando Maia is equally tasteful - the bass guitars being the album's only concession to electricity. These two musicians accompany Cristina on most of the selections - `Tu tens de me acountecer' features the song's composers, José Fontes Rocha (Portuguese guitar) and Jorge Fernando (guitar), along with Joel Pina (bass guitar); `Portos', an instrumental composed by Castelo, showcases Carlos Manual Proença (guitar) and Marino de Freitas (bass guitar); and `Locals' offers us its composer, Miguel Carvalhinho (classical guitar).

This is simply an incredibly beautiful, thoroughly emotional, and masterfully performed album - the recording quality is crystal clear, an advantage unavailable to some of the `classic' performers of fado from years gone by. Imagine what Amalia Rodrigues would sound like with contemporary recording technology. We're blessed to have an artist of Cristina's caliber who is so dedicated to preserving and performing the genre - as well as singers such as Dulce Pontes and Bévinda Ferreire who are continually pushing the fado of their roots beyond its boundaries, into new and exciting territories.

A brilliant fado duo of Cristina Branco's lush voice and the exquisite guitar of Custodio Castelo. My particular favorites are the simple, folk-like melody of Aconteceu (It Happened) about a love quietly growing; and the lilting Meu Amor e Marinheiro (My Beloved is a sailor); the introductory guitar rif is a classic - haunting and beautifully articulated. The lyrics are in Portuguese, French, and English. Most read like poetry.

Put on the headphones and prepare to have your heart broken.

I have to respectfully disagree with a reviewer below who feels that the musicianship and arrangements on this recording are effectively `preventing the musicians from expressing the feeling that makes the fado a special art form'. On the contrary, I think that the beautiful arrangements, so masterfully executed by Cristina's accompanists, rather than getting in the way, frame her voice and delivery with grace and perfection - and her voice, in my opinion, is one of the most expressive you're likely to come across. Despite the dexterity and technique displayed by the players here, the arrangements are actually fairly unadorned - there's no overdubbing that I can hear, just two incredible musicians pouring their souls into their playing, supporting and augmenting and complementing Cristina's lovely voice. One of the editorial reviews makes mention of Dulce Pontes - a stunningly talented artist who has her roots in fado, but has taken her art beyond the genre's limitations. I think Cristina's work is the closest to the traditional form and delivery of fado of any of its contemporary practitioners.

There is beautiful, expressive poetry to be found in these songs - sung in Portuguese, but with French and English translations thoughtfully provided. Cristina draws her program from various sources, including one poem by Fernando Pessoa, Portugal's (literally) multi-faceted gift to the world [check out Bévinda's album of settings of his poetry, PESSOA EM PESSOAS - it's stunning]. Cristina's voice is simply breathtaking - its power and beauty and emotion will draw you in immediately, and when the disc is over, you'll be wishing it could go on and on (just hit the repeat button, as if you'll need any encouragement...). Custodio Castelo's Portuguese guitar is delicate, precise, and never overbearing - he also wrote several of the settings. The bass guitar of Fernando Maia is equally tasteful - the bass guitars being the album's only concession to electricity. These two musicians accompany Cristina on most of the selections - `Tu tens de me acountecer' features the song's composers, José Fontes Rocha (Portuguese guitar) and Jorge Fernando (guitar), along with Joel Pina (bass guitar); `Portos', an instrumental composed by Castelo, showcases Carlos Manual Proença (guitar) and Marino de Freitas (bass guitar); and `Locals' offers us its composer, Miguel Carvalhinho (classical guitar).

This is simply an incredibly beautiful, thoroughly emotional, and masterfully performed album - the recording quality is crystal clear, an advantage unavailable to some of the `classic' performers of fado from years gone by. Imagine what Amalia Rodrigues would sound like with contemporary recording technology. We're blessed to have an artist of Cristina's caliber who is so dedicated to preserving and performing the genre - as well as singers such as Dulce Pontes and Bévinda Ferreire who are continually pushing the fado of their roots beyond its boundaries, into new and exciting territories.

For my generation, the paragon of singing from the heart was Janis Joplin. In Cristina Branco you'll find a voice of similar intensity but less raspiness and more shading of feelings. Notice how young she sounds in "Aconteceu" and yet how inwardly sure that hers is a great love, which "just happened." By contrast, in "Meu Amor e Marinheiro" she is tight-lipped and defiant - maybe wearing her boyfriend's jacket, waiting for him to come back from the sea and "break open all the jail cells." In "Musa" she is dazzled and sitting still ("passive as a mirror"), so as not to miss a moment as love ignites. You don't need to know any Portuguese to understand that Cristina Branco is a great singer for this and any generation.

Her sensual, delicate, inspirated voice make this great singer in a top of the portugueses singers, you must see Cristina on stage singin que fazes ai em Lisboa!, only the best of fado and more, Cristina vai alem do fado, She do the best and more......

I have many, many fado CDs in my collection. Although the musicianship displayed in the CD is very good, the emotional delivery of the fado is overshadowed by arrangements that are too complex, effectively preventing the musicians from expressing the feeling that makes the fado a special art form. Cristina Branco's voice is good, but it lacks the despair and anguish found in other fadistas.

If you want a display of technical musical ability, this is your CD...