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© SIDEFXPRODUCTIONS.NET (2019)

 

2600

Maria Teresa She's an actress. She's a singer. Sometimes she acts. Sometimes she sings. On stage often, she sings and acts at the same time, mixing her two hats, her two talents. For her new opus, Maria Teresa rediscovers her artistic "family": the guitarist Toninho do Carmo, responsible for the musical direction and who precisely caters arrangements for a bouquet of classics from the 70s and 80s, selected by Isabel Ribeiro, their perennial accomplice. Sixteen celebrated songs that have been sung, re-sung, interpreted and re-interpreted. The risk is taken, the stakes are set. Loved through the chords of guitarist Toninho do Carmo, carried by his magical arrangements, Maria Teresa glides through the repertoire with disconcerting ease, appropriating each song, making each her own, each remodelled to her personal register; she blurs the shadows of the interpretations preceding hers. More than just a style revealing a thought, an elaboration, it is a force of nature, unconscious and innate, that reveals song wrapped in the softness and shades of Maria Teresa. The originality and undeniable flavour of the music is tied to the interpretation of a Portuguese voice singing to the Brazilian repertoire, (with the exception of three songs in English) the accents of which are only just perceptible. And here we have the great classics of Brazilian music, reformed with new curves: untouched diction, phrasing, phonetics and intonations, giving another impression of rhythm to the natural rhythm of the Brazilian language. There are no references to Fado, passionate songs with tragic accents, with Maria Teresa. It is rather with deconstruction and simplicity, upon which she imprints her own unique undulations and nonchalance, that she confronts the complex and difficult repertoire. Caetano Veloso to João Bosco, alongside Gilberto Gil, Paul Simon, Chico Buarque, Tom Jobim, Arrigo Barnabé, Djavan, Joyce, John Lennon and Rita Lee; the repertoire evokes the spokespersons of their traditions, the innovative iconoclasts, their heirs, their predecessors, and the avant-garde of Brazilian and Anglo-Saxon music. The album decrypts the life of mankind (and womankind) in sixteen songs. It decrypts their weaknesses, their beauty, their dreams, passions, their pettiness, treacheries, jealousies and victories. A hint to her own cultural diversity, French with Portuguese roots, Maria Teresa takes on à "Tafeta Prêt-à-porter", a humorous Brazilian song signed by João Bosco, filled with French and Brazilian wordplay. Curiously, this album, which calls upon eclectic talents-- from the team that surrounds Maria Teresa to the writers of the songs-- is nevertheless a profoundly personal and original album. That is Maria Teresa's talent.

1920

Maria Teresa She's an actress. She's a singer. Sometimes she acts. Sometimes she sings. On stage often, she sings and acts at the same time, mixing her two hats, her two talents. For her new opus, Maria Teresa rediscovers her artistic "family": the guitarist Toninho do Carmo, responsible for the musical direction and who precisely caters arrangements for a bouquet of classics from the 70s and 80s, selected by Isabel Ribeiro, their perennial accomplice. Sixteen celebrated songs that have been sung, re-sung, interpreted and re-interpreted. The risk is taken, the stakes are set. Loved through the chords of guitarist Toninho do Carmo, carried by his magical arrangements, Maria Teresa glides through the repertoire with disconcerting ease, appropriating each song, making each her own, each remodelled to her personal register; she blurs the shadows of the interpretations preceding hers. More than just a style revealing a thought, an elaboration, it is a force of nature, unconscious and innate, that reveals song wrapped in the softness and shades of Maria Teresa. The originality and undeniable flavour of the music is tied to the interpretation of a Portuguese voice singing to the Brazilian repertoire, (with the exception of three songs in English) the accents of which are only just perceptible. And here we have the great classics of Brazilian music, reformed with new curves: untouched diction, phrasing, phonetics and intonations, giving another impression of rhythm to the natural rhythm of the Brazilian language. There are no references to Fado, passionate songs with tragic accents, with Maria Teresa. It is rather with deconstruction and simplicity, upon which she imprints her own unique undulations and nonchalance, that she confronts the complex and difficult repertoire. Caetano Veloso to João Bosco, alongside Gilberto Gil, Paul Simon, Chico Buarque, Tom Jobim, Arrigo Barnabé, Djavan, Joyce, John Lennon and Rita Lee; the repertoire evokes the spokespersons of their traditions, the innovative iconoclasts, their heirs, their predecessors, and the avant-garde of Brazilian and Anglo-Saxon music. The album decrypts the life of mankind (and womankind) in sixteen songs. It decrypts their weaknesses, their beauty, their dreams, passions, their pettiness, treacheries, jealousies and victories. A hint to her own cultural diversity, French with Portuguese roots, Maria Teresa takes on à "Tafeta Prêt-à-porter", a humorous Brazilian song signed by João Bosco, filled with French and Brazilian wordplay. Curiously, this album, which calls upon eclectic talents-- from the team that surrounds Maria Teresa to the writers of the songs-- is nevertheless a profoundly personal and original album. That is Maria Teresa's talent.

1600

Maria Teresa She's an actress. She's a singer. Sometimes she acts. Sometimes she sings. On stage often, she sings and acts at the same time, mixing her two hats, her two talents. For her new opus, Maria Teresa rediscovers her artistic "family": the guitarist Toninho do Carmo, responsible for the musical direction and who precisely caters arrangements for a bouquet of classics from the 70s and 80s, selected by Isabel Ribeiro, their perennial accomplice. Sixteen celebrated songs that have been sung, re-sung, interpreted and re-interpreted. The risk is taken, the stakes are set. Loved through the chords of guitarist Toninho do Carmo, carried by his magical arrangements, Maria Teresa glides through the repertoire with disconcerting ease, appropriating each song, making each her own, each remodelled to her personal register; she blurs the shadows of the interpretations preceding hers. More than just a style revealing a thought, an elaboration, it is a force of nature, unconscious and innate, that reveals song wrapped in the softness and shades of Maria Teresa. The originality and undeniable flavour of the music is tied to the interpretation of a Portuguese voice singing to the Brazilian repertoire, (with the exception of three songs in English) the accents of which are only just perceptible. And here we have the great classics of Brazilian music, reformed with new curves: untouched diction, phrasing, phonetics and intonations, giving another impression of rhythm to the natural rhythm of the Brazilian language. There are no references to Fado, passionate songs with tragic accents, with Maria Teresa. It is rather with deconstruction and simplicity, upon which she imprints her own unique undulations and nonchalance, that she confronts the complex and difficult repertoire. Caetano Veloso to João Bosco, alongside Gilberto Gil, Paul Simon, Chico Buarque, Tom Jobim, Arrigo Barnabé, Djavan, Joyce, John Lennon and Rita Lee; the repertoire evokes the spokespersons of their traditions, the innovative iconoclasts, their heirs, their predecessors, and the avant-garde of Brazilian and Anglo-Saxon music. The album decrypts the life of mankind (and womankind) in sixteen songs. It decrypts their weaknesses, their beauty, their dreams, passions, their pettiness, treacheries, jealousies and victories. A hint to her own cultural diversity, French with Portuguese roots, Maria Teresa takes on à "Tafeta Prêt-à-porter", a humorous Brazilian song signed by João Bosco, filled with French and Brazilian wordplay. Curiously, this album, which calls upon eclectic talents-- from the team that surrounds Maria Teresa to the writers of the songs-- is nevertheless a profoundly personal and original album. That is Maria Teresa's talent.

1280