The autumn-winter season 2022-2023 of the Palma Main Theater you has reserved the first night to the fadista and disuse (narrator) misia, and as the central theme of the recital his most recent album: sentimental animal, that complementing itself with a book comes to gather his memories in the present time, although impregnating all the spirit of his album Pure Lifemarked a few years earlier by his experience with cancer.
The recital was divided into two parts well differentiated, the first in silence and dedicated monographically to fadowhile in the second there was a costume change her other personality decidedly entered the scene as a narrator. Mísia woke up to fado at a late age (she had turned 35) and she did it – one could say – aligning herself with the heritage of Amalia Rodrigues, called “the queen of fado” and starting from this fact, aligning herself with the renewing current of the genre. Curiously, that opened the great theaters for her, while she was ignored in her own country.
It was worth wondering why he appeared on the scene from the beginning emulating the clown, with that dark gray clothing and based on his gestures marking signs of subtle parody. She left it here. Instead, the second part already appeared more luminous dressed in red and gold. Also openly relaxed and more liberated, who knows if consciously choosing a wealth of nuances that in themselves were a nod to its remote past. burlesque and cabarets.
In both parts, more so in the second, fluttering his confirmation of being «a character voice and not a performance voice». The accompaniment, a luxury, and since I have referred to the proximity of Pure Life (2019) with sentimental animal (2022), which delimit the most confusing period of humanity in the last century, I want to recover a reflection of Mísia regarding the keys of accompaniment in both cases: «In Pure Life the electric was mixed with the acoustic. The guitar, played that way, meant fear and pain, the black part of my life. Instead, using the Portuguese guitar, with a more ethereal and beautiful sound, was heaven in contrast». In the Teatre Principal everything was of deep acoustic vocationwith the participation of three of the eight musicians who recorded the album.
Among them, at the pianothe Neapolitan Roman Fabriziowith its minimal and jazzy touch, which has become his artistic partner in recent years, and good proof of this was presenting the four songs on the album resolved to the intimate dictation of the duet. On the other side were some very young Bernardo Couto (Portuguese guitar) and Bernardo Viana (viola de fado) that lit up the night with their inspired annotations and that she herself encouraged as “the new generation of young instrumental promises”, as we could see.
A second part, moreover, that illustrated at the back of the stage the image of the folder of her latest album, the work of the figurative and abstract painter, Anne-Sophie Tschiegg, who is defined in particular by his «desire to express the inexpressible». That static face with a great expressive force, there it was anchored to the background. A silent witness to an intense evening, I have the impression that it went unnoticed by that much larger potential audience than the one that finally came to the room.
I will finish affirming, and without for that reason denying the heartfelt depth of the story, that the character was nuanced (he was going to write eclipsed) by a luminous accompaniment. To the point of opening up the options: follow the playing time paying attention to the general shot or happily losing oneself in specific camera shots, those individual frames that gave meaning to the musical and personal journey of Susana Maria Alfonso de AguiarMisia.