A Aula Magna esgotou para receber a cantora americano-mexicana Lhasa de Sela que ontem se deslocou a Lisboa para mais um concerto de promoção do seu último disco ‘The Living Road‘. Com a timidez e a generosidade que lhe são já habituais, de Sela foi gradualmente arrebatando o público, a quem se dirigiu sempre em português.
O alinhamento, composto por temas de ambos os discos (os hinos de ‘La Llorona‘ foram os mais aplaudidos da noite), não trouxe muitas surpresas aos que, como eu, assistiram à sua prestação no Fórum Lisboa em Julho deste ano. Não obstante, o fado de Ary dos Santos e Alain Oulman, “Meu Amor, Meu Amor”, voltou a impressionar e (sobretudo) a aura que ontem envolveu o espectáculo foi bem mais intensa que a do seu predecessor. Este público estava mais desinibido, atento e participativo (tanto que a sua aparente avidez por aplausos chegou mesmo a interferir com a deficiente sonorização da sala), o que acabou por contribuir para níveis consideravelmente elevados de energia.
Apesar de algumas dificuldades de afinação nos primeiros temas, o concerto foi bastante sólido, ficando assim reforçada a promessa de um bom concerto para hoje na Casa das Artes em Famalicão.
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10 Comentários
ela é mexicana ou americana??
Se é Lhasa… Aperta!
BBF
Alexandre,
Tens razão: a moça é filha de mexicanos, mas nasceu perto das Catskill mountains, em Nova Iorque.
Deixo aqui ficar uma biografia completa:
« Her story begins in Big Indian, a tiny village perched among the Catskill mountains, although she didn’t stay there long. Lhasa’s (full name Lhasa de Sela) idealistic and unconventional parents rejected routine and stability, preferring to follow life wherever it might lead them. For seven years, the family would crisscross the United States and Mexico in a converted school bus, Lhasa’s first chapter in a long experience of the road. Her father was a writer and teacher who would work in construction or picking fruit, when he had to; her mother was a photographer. Travelling with them and her three sisters, it was her early contacts with books, fairy tales, radio drama and passing landscapes that shaped her imagination. Even at the time, she knew how lucky she was to be spending her childhood as she was, although the freedom entailed uncertainty, as well. The soundtrack to those years was a medley of the American and Mexican classics loved by her father, and the Latin, Arab, Eastern European and Asian music her mother would listen to.
San Francisco, mid ’80s. At 13, Lhasa took to the stage of a Greek café to sing Billie Holliday ballads and Mexican tunes a cappella. There, she gradually discovered the power of her voice to convey thoughts and emotions she was only beginning to experience herself.
Six years later, the road led north, to Montreal. It was there that she met guitarist and producer Yves Desrosiers. For close to five years, they performed together in downtown bars, a collaboration that evolved into original material that eventually took form in La Llorona, an album that centered on the persona of a tearful siren of Aztec mythology who would bewitch men with her heart-rending melodies. Infused with a certain nouvelle nostalgie, the album exuded the fragrances of Mexico and the colors of the Romany, full of sensuality and striking instrumentation. Released in February 1997, the Spanish-language album was immediately recognized for its sparkling originality. Hundreds of thousands worldwide were transported by the even, throaty voice that delivered such mysterious poetry above the rich arrangements, heady like incense.
The first impact was in Quebec, where Lhasa began to fill halls and ultimately win the “Félix” for “Artiste québécois – musique de monde” in 1997. Then followed the rest of Canada, where she went platinum, selling 110,000 albums and winning a Juno for Best Global Artist, in 1998. Then came the U.S. and Europe, especially France, where La Llorona went “triple disc d’or,” with 300,000 flying off the shelves. Lhasa and her band toured relentlessly for several years, throughout Europe and North America, where her concerts were as acclaimed as the album had been. The demand for live appearances steadily increased.
On the eve of the 21st Century, Lhasa decided to take a break from touring and consider what might be next. Realizing that she needed to distance herself from her life as a singer, she decided to travel to France to fulfill her childhood dream of performing with her three sisters, all circus performers. They met up in Bourgogne and created a show together, which premiered in the summer of 1999. The contrast between the life of a touring musician who sees the world fly by with never the time to savor the places and people along the way and the circus life, travelling in the company of family and friends, sharing trailers and assembling and dismantling the big top and bleachers, provided a welcome opportunity for the singer to replenish her inner resources.
When the circus tour had ended, Lhasa arrived at a new chapter in her life: Marseille, the ancient port city, where half the titles for her new album would be born.
In 2002, now back in Montreal where her career had begun, she re-united with François Lalonde, drummer, percussionist and sound engineer on La Llorona, and Jean Massicotte, pianist who had also contributed to the mixing of her first release. They were to co-produce her second album, The Living Road, already much anticipated on both sides of the Atlantic.
Where La Llorona revolves around a mythical siren, The Living Road centers on the metaphor of life as a road. A gathering of original titles sung in Spanish, English and French, the album bridges physical distances as it links the musical traditions of the present and the past. Lhasa’s voice and lyrics cross borders freely. The melodies themselves are timeless and the rhythms textured. And in every song can be found Lhasa’s clear conviction that life is a living road, that nothing repeats itself, and that nothing is ordinary.
“That’s what inspires each of the songs on the album,” says Lhasa. “The mysterious force that doesn’t let us box ourselves in, that compels us to keep changing. The road is alive, we can’t freeze or stop it. And we know can’t.” »
- Fonte: http://www.billions.com/artists/lhasa/
e eu perdi a Lhasa de Sela mais uma vez! o que me chateia é que ela é cada vez mais conhecida e talvez tenham acabado as oportunidades cá em Portugal de a ver num ambiente mais intimista.
Gostei tanto desta foto que a ‘roubei’ – não é tua, penso, mas como está no teu arquivo, achei por bem fazer o reparo aqui ;)
Até breve.
er..se calhar a foto é mesmo tua…o vestido, os gestos parecem iguais (só vi este concerto) – se o for, diz, corrijo, é uma questão de respeito e justiça nomear o autor.
Vague,
A fotografia foi turada num concerto em Vooruit Ghenté e é da autoria do Belga Dirk Janssens – o site dele mora em http://www.photoblog.be/photoblog.php?nickname=dirk&action=about
Se deixares o rato alguns segundos sobre a imagem verás que aparecem os créditos.
Bjs.
O concerto em Famalicão foi extraordinario!Mas suponho que já todos soubessem menos euzinha… Queria apenas pedir uma info. Ela canta um fado da Amália.Não sei se o fez em Lx…Será possível encontrá-la em qualquer sítio? Cantado por ela e não pela Amália…Todas as pessoas deviam ver um concerto de Lhasa!
Carina,
O fado também integrou o alinhamento do concerto de Lisboa (com direito a ovação de pé de grande parte do público).
O fado é da autoria de Ary dos Santos e Alain Oulman, “Meu Amor, Meu Amor” e foi originalmente composto para a Amália Rodrigues.
Porém, não consta de nenhum dos 2 discos da Lhasa
Quem sabe ela edite um álbum ao vivo no próximo ano…
Lhasa: a melhor companheira de trabalho.
Estive para ir ver o concerto dela em Julho, mas as datas não estavam de acordo com a minha agenda cultural. Em Dezembro foi mesmo a falta de dinheiro aliado aos presentes de Natal para a família e amigos.
Tudo isto para dizer, que mais uma vez, o seu blog apareceu quando fazia uma pesquisa!
Um belo sorriso para si