Tudo Isto é Fado

For the past three years, Tempest Entertainment has been researching and identifying the components of Fado around the world in order to define what would culminate in a singular and unprecedented Fado tour-de-force.

We now present:


TUDO ISTO E FADO is a project of great dimensions as it is tailored to a theatrical review of the great genre from the Traditional aspects to the Pop.

The vision is to present a programme that begins with a history of the cultures and countries that influenced Fado: Arabia, Angola, Mozambique, Cabo Verde, Guinea-Bissau and the varied regions of Portugal including the Azores and Madeira, the Portuguese Guitar, and finishes with a programme designed to reflect contemporary and pop derivatives of Fado eventually, culminating with the ground-breaking Portuguese project, Amália Hoje.

This purity of premise presents an optimum opportunity as a presenter to cross generations by offering audiences a window into the past and the future. When placed in proper historical context as we propose here with TUDO ISTO E FADO, we offer audiences a primer on Fado, its luminaries and its future. TUDO ISTO E FADO is destined to be a watershed moment in the history of Fado in North America.

Unlike other genres (Bossa Nova, Tango, Son, Qawwali, Jazz, Samba, Salsa, Flamenco, etc.), no one institution has yet to present a comprehensive, cultural, educational and forward thinking Fado programme to North American audiences. Fado has traditionally been presented to U.S. and North American audiences in single doses with solo performances by notable artists; we believe that multi-generational audiences can benefit immensely by seeing the whole picture; the history, the trajectory, the components and the variations of Fado.

With a phenomenal line up of some of Portugal’s greatest representatives of the genre the likes of Camané and Maria da Fé and the younger generation on the traditional end, and the phenomenal revelations including Amália Hoje comprising the contemporary programme. As we rewind and forward, TUDO ISTO E FADO is in a prime position to take Fado from its roots and into the future in a comprehensive, educative and entertaining manner.

This project debuted in New York on 2 and 3 December, 2011 at The Brooklyn Academy of Music’s Next Wave Festival.

Amongst those scheduled to perform these evenings:
Camané, Ricardo Perreira, YAMI, Beatriz da Conceicao,Rodrigo, Deolinda + Amália Hoje

The Festival is available in its entirety or as separate presentations by Camané and Amália Hoje who will be touring at this time.

For further and extensive information on the various components of the project and availability, please contact Tempest Entertainment.


Fado is Portugal’s patrimonial contribution to music.  Although it can be argued that as world explorers, Fado had an earlier spawning at sea; it has a relatively short history. The early 19th century [usually 1820-40]  is consistently sited as the date of the modern birth of Fado – sailors [“Fado Marinheiro”] sang these songs of saudade, love and the sea at local pubs and a Fadista of gypsy origins bearing the uncannily descriptive name of Maria Severa(!),  became the most popular of the era.  From there, Fado became a staple in all bars and Populist gathering places in Lisboa and later, Coimbra and later, throughout Portugal.

Then in the late 1930’s, Amália Rodrigues arrives. She is immediately crowned the Queen of Fado and becomes the most visible Portuguese star to travel the world for four decades [1940’s-1980] not unlike in the manner of many a super pop star today. Arguably larger than Edith Piaf and larger than life, Amália remains the undisputed star of Fado.

However, despite the national acknowledgement after Amalia’s death (1999), the Portuguese government was not always fond of Fado nor was eventually, the post-dictatorship generation. From 1928-1968, the dictatorship of Antonio Salazar considered Fado a form of protest. Fadistas – always having been of the people and not the upper classes would perform songs that overtly criticized the government. Eventually, Fadistas were required to submit their lyrics to censors for approval. The response by Fadistas was to write 2 sets of lyrics for every song. One set was delivered to the censors and the other was saved for performing in less hostile environments.  What ensued was that the popular fado that was put out in the world reflected a much sunnier illusion than the reality at home. So not surprisingly, after the bloodless Carnation Revolution of 25 April 1974, which overthrew the dictatorship, Fado and the popular Fadistas of the day, ironically became equated with the dictatorship and shunned. Amália herself, was accused of being an agent of Salazar’s Polícia Internacional e de Defesa do Estado (PIDE), on the contrary, she contributed periodically to opposing communists (Thankfully, Amália returned triumphantly to the stage 3 years later).

However, it took some time for Fado to truly metamorphose once again into a Populist art form and a new crop of Artists began to emerge.  One can argue that Misia led the pack in 1990 (when only Amália + Carlos do Carmo had the audience) shocking primarily orthodox audiences by changing the basic instrumentation and using contemporary poetry.  Few years after, Madredeus came to prominence, again, with a completely modern interpretation of traditional, folk and Fado.  After Amalia’s death in 1999, the stage was set for a new generation to accept Fado as theirs. The New Fado.

In 2001, Mariza came on the scene and quickly gained international recognition with her flawless interpretations of traditional standards song and is now arguably the most recognized female Fadista today in the style of Amália.  She too, however has taken the Fado form forward by working with new poets and lyricists and contemporary interpretations including jazz.

New Fado now has more than a handful of luminaries joining the above from Portugal and Portuguese speaking territories:  Mafalda Arnauth, Ana Moura, Cristina Branco, Raquel Tavares, the Moutinho brothers including Helder, Pedro and Camane, Ricardo Ribeiro, Lura, et al.  Moreover, there is a vibrant young generation of musicians like Cuca Rosetta and Deolinda reinterpreting traditional, folk and Fado in a completely alternative fashion; a trend that continues to flourish.

The premise of all this of course, is to chart the course of where Fado came from and where it is today. Our programme, Tudo Isto é Fado, is comprised of two evenings in 4 parts.

Tudo Isto é Fado – Evening 1

Retraces the roots of Fado with the premise that Fado is music that was born in the ports, as was tango in Buenos Aires, rebetika in Athens, morna in Cape Verde, and Cajun in New Orleans, among many other popular urban genres that convey the way in which a nation expresses itself and that have somehow emerged from the confluence of a multitude of musical and social influences.

In the case the song of Lisbon (Canção de Lisboa), is well documented in that it is the fruit of as many influences as there are musical genres in the nations which have played a role in the history of Portugal: from North Africa (the Iberian Peninsula was controlled by the Moors for over seven hundred years) to Brazil and the African nations which used to be Portuguese colonies and which still form part of the Portuguese-speaking world, i.e. the lusophone world. In addition, Fado is also influenced by numerous musical styles from different Portuguese regions which have been identified as “traditional Portuguese music”. All of these have contributed to the development of the song of Lisbon.

However, the Fado that is currently emerging has its roots in the classic fado genres, including corrido, menor, and mouraria, which gave rise to the more traditional fados and, later, the fado canção genre. This more recent fado has been developing since the beginning of the twentieth century and its key instrument is the Portuguese guitar, which is to Fado what the bandoneon is to the tango, the buzuki is to rebetika, and the cavaquinho is to mornas. In this context, our aim is to present to the audience a concert that is focused on this instrument – the most representative instrument of the song of Lisbon – and that develops on the basis of its musical, cultural, and social influences.

Angola, Cape Verde, Mozambique, Guinea-Bissau and Brazil are some of the nations representing both Portuguese-speaking countries and the influences on which Fado has drawn to become the genre it is today with some of the greatest stars of Fado including the elders and the new generation. Additionally, Arabic music and Portuguese traditional music also play its due part in context. The evening concludes with the inimitable performer, Camané.

  • Musical direction and arrangements: Ricardo Parreira and YAMI
  • Portuguese guitar: Ricardo Parreira (video)
  • Fado viola: Marco Oliveira (video)
  • Classical guitar: Manuel D’Oliveira (video)
  • Electric and acoustic bass: YAMI (video)
  • Piano/keyboards/accordion: Filipe Raposo (video)
  • Drums: Mário Marques
  • Beatriz da Conceição (video)
  • Rodrigo (video)
  • Ritinha Lobo (video)
  • Micaela Vaz (video)
  • Vânia Conde (video)
  • Marco Oliveira
  • YAMI

Part 1

Brazil and Afro-Lusophone
Portuguese Traditional Music
Fado and the music arising from these influences


Part 2


Camané is a vocalist widely considered the greatest male Fadista of his generation. Born Carlos Manuel Moutinho Paiva dos Santos in 1967 in Oeiras, Portugal to a family of Fadistas, Camané made his album debut in 1995 with Uma Noite de Fados on EMI. The album was produced by Jose Mario Branco, a well-regarded veteran Portuguese singer/songwriter who has also produced Camané next five albums: Na Linha da Vida (1998), Esta Coisa del Alma (2000), and Pelo Dia Dentro (2001). Camané broke through to mainstream commercial success in 2003 with Como Siempre…Como Antes, a live album that reached number 16 on the Portuguese albums chart. A best-of compilation, The Art of Camané: The Prince of Fado (2004), was released afterward. Several years passed before Camané released his next studio album, Sempre de Mim (2008). Eagerly awaited and critically acclaimed, Sempre de Mim topped the albums chart for three weeks and spent nine weeks overall in the Top Ten. The Top 20 hit, the live album Camané oa Vivo no Coliseu – Sempre de Mim (2009) was released in its wake. His latest and sixth studio album, Do Amor y Dos Dias released December 2010, has already gone platinum. Camané made his US debut in 2011.

Tudo Isto é Fado – Evening 2

This evening is a tribute to the reinterpretation of traditional and folk Portuguese music and Fado in a completely alternative fashion

Part 3


Deolinda is a project from Lisbon (Portugal) inspired by fado and its traditional roots in order to create original songs based on Portuguese traditional and popular music.

 Deolinda came to life in 2006, in the hands of 4 young musicians with diverse musical backgrounds and experiences (classical music, jazz, ethnical and traditional music), searching to recreate a sound rooted in popular music through the crossing of different musical languages and musical research, serving as a base for the group’s riginal compositions steeped in tradition.
To conjure this Portugal, the acoustic quartet invented an alter ego, a middle-aged single woman, Deolinda. Deolinda is old enough to realize that life is not as easy as it seems. Merrily unmarried, in love and out of love, born in Lisbon, she inhabits a ground floor apartment somewhere in the suburbs of the capital. She writes her own songs by peeking through the curtains of her window, drawing inspiration from the old gramophone records that once belonged to her grandmother and by the bizarre and strange life of her neighbours. She lives with 2 cats and a goldfish.

Deolinda’s first album, Canção Ao Lado was released in 2008. Their latest release, Dois Selos E Um Carimbo [2009] , hit the charts at No. 1.

Deolinda are: Ana Bacalhau (vocals), Zé Pedro Leitão (doublebass), Pedro da Silva Martins (classical guitar) and Luís José Martins (classical guitar).

Part 4


The group, Hoje [“Today”], is a visionary Portuguese pop project created by musician Nuno Goncalves (The Gift) in collaboration with three of Portugal’s most well-known musicians Sonia Tavares (The Gift), Fernando Ribeiro (Moonspell) and Paulo Praça (Plaza)

Their first album, Amália Hoje (2009 – La Folie and Valentim de Carvalho Multimédia), contains nine fados immortalized by Amália Rodrigues and re-interpreted with a contemporary pop approach assuming the posture that Amália was Portugal’s first and biggest pop star.

Further information about AMÁLIA HOJE can be found on their Artist page.