In two weeks I’ll be returning to Lisbon, for my second year participating in the Disquiet International literary conference. Besides giving a reading from my fiction and nonfiction, I’ll also be leading the conference’s Fernando Pessoa walk though the streets of the city’s Baixa neighborhood to follow the haunts of the great 20th century Portuguese poet. And I’ll be teaching a generative travel writing class, encouraging my students to explore the nooks and crannies of Lisbon (and there are a lot of them).
There’s a stellar cast of writers in the program, including the Portuguese-American writers Katherine Vaz and Frank Gaspar, as well as writers Terri Witek, Tayari Jones, Adam Levin, Sam Lipsyte, Robert Olmstead, Denise Duhamel, screenwriter and actor John Frey, and some of the best Portuguese writers of the day: Jacinto Lucas Pires, Teolindo Gersão, Patricia Portela, José Luís Peixoto, and Gonçalo Tavares. And of course Richard Zenith, perhaps the premier translator of Portuguese literature into English. One of the main organizing spirits behind it all is the marvelous fiction writer Jeff Parker.
But most of all, there’s Lisbon: the palimpsest of history on every street, the summer scent of grilling sardines, the beauty of the language, and the music, the music. Fado is the style most known outside of the country, but Portuguese music offers much, much more than that. There’s jazz, rock, folk, you name it, and because the creative genius of Portugal is particularly attuned to music (and literature too, let’s not forget literature, and did I mention food?), it’s all of a very high quality. These cultural riches are probably not a small part of how the Portuguese are surviving these difficult days of austerity. That, and lots of demonstrations.
One of my favorite Portuguese bands is Madredeus. After the loss of their singer, Teresa Salgueiro, the band experimented with their musical identity for a while, but now they’re back with a new instrumental line-up that includes two violins, a cello, and the classically trained voice of Beatriz Nunes. Here’s their quietly stunning version of one of the oldest songs in the Madredeus repertoire, “Adeus . . . e nem voltei.”
The violin is also an important instrument in the music of Cape Verde (an African nation of nine islands and a former Portuguese colony). The singer Lura, born in Lisbon of Cape Verdean parents, brilliantly recreates the music of those islands, her voice both powerful and tender. I love the violin in her version of the song “Flor di nha esperanca”–it gives a chamber music touch to the slinky dance hall proceedings.
Will I be lucky enough to catch Madredeus or Lura in concert this summer? I doubt it. But whichever live music I make my way to, I know it’ll be wonderful.
Like what you’ve heard? Then try these posts, which also include videos of Portuguese music:
A Naifa (includes my take on José Luís Peixoto’s excellent novel, The Implacable Order of Things)
Or you could read “The Pleasures of Saudade,” my article on the thrilling range of contemporary Portuguese music, which includes numerous videos and MP3s, here at The Morning News.
Interested in Portuguese literature? Try this post on the work of Fernando Pessoa.
Go to post pageJune 16th, 2013 by admin
