The Brazilian Art Song

                                              Dr. Tiago de Oliveira Pinto*

 

Brazil’s society and culture are multifaceted; the diversity and intensity of expression that characterize its music captivate audiences worldwide.

Apart from Heitor Villa-Lobos’ oeuvre, few cosmopolitan music lovers are familiar with the wealth and quality of Brazilian classical music. Recordings of Brazilian art songs seldom make it to the international market and, when they do, interpretations may fail to meet the highest standards. Issues around style and character of such musical performances are complex. They require a great deal of sensitivity from the interpreters and a genuine understanding of the soul of Brazilian music. Moreover, articulation in Brazilian Portuguese singing demands thorough knowledge of the country’s linguistic background. The singer must be aware of regional nuances, which abound in a country as big and full of contrasts as is Brazil. Otherwise, the artist will find himself at risk of conveying a distorted image of Brazilian speech (one must, however, be aware that the vocal art of melodies from the classical repertoire requires distinctive, well-balanced articulation).

This journey in the realm of Brazilian art song features the three pillars of Brazilian culture, in their individual self-assertion on the one hand and in their vast, special blend of diversity on the other: the bewitching character of African music combined with the world vision of Brazil’s indigenous population, embedded in the form and tradition of European art song. Some selected melodies are sung in Indian dialect or Afro-Brazilian lingo; the majority, however, are performed in Portuguese. Tonight’s sophisticated and entertaining program yields a colorful picture of Brazil’s musical universe, which is illustrative of the variety and contrasts in a country the size of a continent. This concert presents works by nine of the most distinguished Brazilian art song composers. 

To produce such a program is quite a challenge in terms of interpretation: we intend to draw on a comprehensive palette of colors, ranging from powerful drama to lyrical intimacy; from the dedicated lightheartedness of folk melodies to rhythmic versatility and narrative climax of the songs. The expression may vary from sensual to mischievous, sometimes magical and sometimes passionate – which demands from the interpreters a high level of adaptability and an eminent feeling for multi-ethnical musicality.

 Renato Mismetti and Maximiliano de Brito fulfill all these requirements hands down. Renato Mismetti’s convincing interpretation is full of vitality, offers a broad spectrum of vocal color, ranging from fine lines to the mighty spell of his voice. He counsciously allows body and soul to sing, thus going beyond the conventional mode of  art song presentation. This deeply felt form of interpretation leaves no listener unmoved. The background and character of the music and the lyrics are brought nearer to the listener by this unconventional form of presentation as, for example, in the ritualistic Indian and African dances or the love songs from rural regions. His exceptional ability to use timbre to convey psychological subtleties of the lyrics, his flexible phrasing and outstanding articulation combine with pianist Maximiliano de Brito's inspiring, sensitive pathos and precise, aesthetic touch to attain successful and harmonious interaction.

Both artists, whose varied repertoire includes art songs from different countries and different epochs, are truly committed to the dissemination of their native country’s music. They are convinced of its musical value, but also of its significance as a key element of Brazil’s cultural diversity, way beyond stereotype clichés. At the 44th edition of the International Youth Festival in Bayreuth, in 1994, they gave the first master class on interpretation of the Brazilian art song within the framework of a European music festival, which culminated into a highly successful concert performance. Their own tours took Renato Mismetti and Maximiliano de Brito to Germany’s most renowned concert halls and to many other European countries, where they were hallowed with enthusiasm and standing ovations. In a project sponsored by the Apollon Foundation which allowed a special cultural encounter in August 2000, the two musicians gave the world première of two song cycles at the Bayreuth Opera House: the famous Brazilian composer, Marlos Nobre, wrote music to poems by Heirich Heine and the German composer, Jens Joneleit, wrote music to lyrics by the Brazilian poet, Mário de Andrade. Both song cycles are dedicated to Renato Mismetti and Maximiliano de Brito. The quality of their performance and their dignified, competent attitude are worthy of their name as honorable ambassadors of the culture of their nation.

 

 

*Head of the German office of the Institute for Brazilian Culture (ICBRA)

 

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