Music

Although many of the songs on Brazilian singer Virgínia Rodrigues’ latest CD, “Nós” (Ryko), were written for Carnival, her soaring voice with its emotional majesty and the stately string arrangements invest the recording with something much closer to the sacred than the profane. “The record began as a Caetano Veloso project to celebrate the inhabitants of Sáo Salvador da Bahia,” she told me through an interpreter. “Bahian culture has deep African roots and its deities are originally from Africa too. They are very important to us. But this culture is now in danger of disappearing. Caetano and I wanted to call attention to that with this record.” Is that why some of the songs seemed to be infused with a sadness and nostalgia? She smiles. “You are only hearing my interpretation. The songs were written by inhabitants of Sáo Salvador, some as protest songs about the injustices we have suffered. But not all of them are sad!”
Herself a native of Sáo Salvador, Rodrigues grew up singing in choirs in the city’s Protestant and Catholic churches, where she caught the attention of Brazilian music legend, Caetano Veloso, with her “celestial” rendition in Latin of “Veronica,” traditionally sung during the Señhor Morto procession in Santo Amaro. But in fact she is a devotee of the Candombié religion, which venerates African deities and spirits such as Olodum. “I just sang in churches because that’s where I found music. As soon as I was able to sing in other places, I left those churches! But I will never leave Candombié.”
When Veloso brought out her first disc, “Sol Negro,” two years ago, the international press quickly picked up on her humble origins: the daughter of a poor market vendor. There were easy comparisons with other singers from impoverished backgrounds, like Cesaria Evora and Edith Piaf. How does she react to that facile take on her life? “My position was not exceptional. Being poor is part of the history of Brazil for black people. It is the most common story there is in my country. There are only two ways they will ever permit blacks to become rich: through soccer and music. We have given so much through our music.” There are so many streams to Brazilian music, of which samba, bossa nova and tropicalismo are only the most famous. What is it that has made the country so rich musically? “Brazil is a big fruit salad. There are people from everywhere, starting with the Indians, then the Portuguese and the slaves from Africa, and migrants from all over the world. The African rhythms have had the strongest influence, but who can say where all the music comes from? All we know is that Brazilian music has changed the way the rest of the world listens...”
Virgínia Rodrigues Apr 25, L’Européen, 5, rue Biot, 17e, M° Place de Clichy, tel: 01.43.87.97.13, 8pm, 120F.





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Virginia Rodrigues ©Bill Akwa Betote		Spotlight by Tim Baker Virgínia Rodrigues’ Bahia Blues Although many of the songs on Brazilian singer Virgínia Rodrigues’ latest CD, “Nós” (Ryko), were written for Carnival, her soaring voice with its emotional majesty and the stately string arrangements invest the recording with something much closer to the sacred than the profane. “The record began as a Caetano Veloso project to celebrate the inhabitants of Sáo Salvador da Bahia,” she told me through an interpreter. “Bahian culture has deep African roots and its deities are originally from Africa too. They are very important to us. But this culture is now in danger of disappearing. Caetano and I wanted to call attention to that with this record.” Is that why some of the songs seemed to be infused with a sadness and nostalgia? She smiles. “You are only hearing my interpretation. The songs were written by inhabitants of Sáo Salvador, some as protest songs about the injustices we have suffered. But not all of them are sad!” Herself a native of Sáo Salvador, Rodrigues grew up singing in choirs in the city’s Protestant and Catholic churches, where she caught the attention of Brazilian music legend, Caetano Veloso, with her “celestial” rendition in Latin of “Veronica,” traditionally sung during the Señhor Morto procession in Santo Amaro. But in fact she is a devotee of the Candombié religion, which venerates African deities and spirits such as Olodum. “I just sang in churches because that’s where I found music. As soon as I was able to sing in other places, I left those churches! But I will never leave Candombié.” When Veloso brought out her first disc, “Sol Negro,” two years ago, the international press quickly picked up on her humble origins: the daughter of a poor market vendor. There were easy comparisons with other singers from impoverished backgrounds, like Cesaria Evora and Edith Piaf. How does she react to that facile take on her life? “My position was not exceptional. Being poor is part of the history of Brazil for black people. It is the most common story there is in my country. There are only two ways they will ever permit blacks to become rich: through soccer and music. We have given so much through our music.” There are so many streams to Brazilian music, of which samba, bossa nova and tropicalismo are only the most famous. What is it that has made the country so rich musically? “Brazil is a big fruit salad. There are people from everywhere, starting with the Indians, then the Portuguese and the slaves from Africa, and migrants from all over the world. The African rhythms have had the strongest influence, but who can say where all the music comes from? All we know is that Brazilian music has changed the way the rest of the world listens...” Virgínia Rodrigues Apr 25, L’Européen, 5, rue Biot, 17e, M° Place de Clichy, tel: 01.43.87.97.13, 8pm, 120F.