The Portuguese fado singer opened the doors of “Casa Guilhermina” to a crowded Coliseum, in fact, many more wanted to be present, but there were no more tickets, to see her new fado, with the scent of semba, kizomba, and swing.
Pedro Mafama, Paulo Flores, and little Emília helped at the party, full of diversity, freedom, dance, and color in which nothing was left to chance.
The Coliseu de Lisboa lived a very different fado night, we even witnessed a beautiful and invigorating change from an artist who was already fantastic, to exceed herself, fado will never be the same, she invited everyone to dance, to embrace a joy contagious, that left no one indifferent when hearing and seeing the songs of “Casa Guilhermina”.
Ana Moura opened fado to the world, and this shows the diversity of the public that was present at the Coliseu, applauding, encouraging, raving, dancing, and singing with her, the themes that made everyone passionate, happy, and happy.
It was with ‘Minha Mãe’ that the Coliseum came to life, the enthusiastic public, no longer containing expectation and with open arms welcomes the musicians and dancers, who are the first to enter. Ana Moura then begins with ‘Janela Escancarada’, dancing with the dancers and the first ovation was not long in coming, followed by ‘Andorinhas’.
The fado singer confessed “I’m particularly nervous”, after welcoming her, and adds “These last years of mine had some moments of immense pain, which I wanted to transform into something else, into something that could bring me joy. Obviously, singing brings me immense joy, but dancing too and seeing people dancing to my songs makes me even happier”, which is why the audience only had standing places.
‘Corridinha’ follows, singing and dancing, and then ‘Estranha Forma de Vida’. Pedro Mafama then enters the stage, co-producer of the album and his partner, to sing ‘Linda Forma de Morrer’ and ‘Agarra Em Mim’, ending with an affectionate hand kiss, which was worth a shower of applause and some naughty whistles.
Ana Moura continua esta noite irrepetível, nas palavras da cantora, com ‘Jacarandá’, com uma homenagem ao seu amigo Prince, e acrescenta “Ele dizia: ‘Ana, um dia ainda vou ouvir a tua música com um beat’, então fiz esta com um beat de quizomba” e acrescenta “para mim, estás vivo em cada jacarandá”.
Também Conan Osíris marcou presença no Coliseu, mesmo que não pessoalmente, a sua voz esteve em ‘Colheita’, segui-se ‘Trigo’, ‘Nossa Senhora das Dores’, de Maria da Fé, com Ana deitada numa cama de ferro. Sobe então ao palco uma convidada muito especial, enquando no écran sobre o palco se pede “Silêncio para não assustar a Emília”, Ana Moura volta então ao palco na companhia da filha para uns passinhos de dança, e Ana menciona que “Este concerto é muito sobre dançar e a Emília começou a andar há pouco tempo e aprendeu a dançar sem ninguém a ensinar”.
Ana Moura continues tonight unrepeatable, in the words of the singer, with ‘Jacarandá’, with a tribute to her friend Prince, and adds “He said: ‘Ana, one day I’m going to listen to your music with a beat’, so I made this with a kizomba beat” and adds “for me, you are alive in every jacaranda tree”.
Conan Osiris was also present at the Coliseu, even if not in person, his voice was in ‘Colheita’, followed by ‘Trigo’, ‘Nossa Senhora das Dores’, by Maria da Fé, with Ana lying on an iron bed. A very special guest then takes to the stage, while the screen above the stage asks “Silence so as not to frighten Emília”, Ana Moura then returns to the stage with her daughter for a few dance steps, and Ana mentions that “This concert is a lot about dancing and Emília started walking a little while ago and learned to dance without anyone teaching”.
Ana Moura then explains the origin of the song ‘Mázia‘, the song she wrote for her cousin Cláudia, “It was to the sound of Paulo Flores that I grew up and the song I’m going to sing now is the centerpiece of this album”, and adds, “my cousin Cláudia and I used to dance for grandma Guilhermina. We were the best dancers in the world. I wanted to do a semba in honor of this strong woman, with whom she shared our Angolan heritage. Her name was Cláudia, but we called each other ‘mázia’, short for ‘primacy’”.
The stage then opens with Paulo Flores joining Moura, Fado intersecting with semba and kizomba, to warm applause, and the Angolan singer mentions “More than crying who is not there, it is important to celebrate the life”, and together they sing ‘Mázia’ and ‘Poema do Semba’.
The night is coming to an end and to end it on a high note we have ‘Classe‘, a fado written by Conan Osiris, then ‘Sozinha Lá Fora’, followed by the fandango ‘Arraial Triste’, but of course, the Coliseu wanted more, Ana Moura had to return to the Coliseu stage, under an intense rain of applause.
Then, Ana Moura returns to the stage alone, with ‘Loucura‘ to start one of the moments of the night, with exclamations of ‘Ah, fadista!’ being heard around the room, followed by ‘Te Amo’, a hit by Calema, which much applause from the audience, who did not want to leave the room, for nothing.
The end of this unforgettable concert would be to the rhythm of ‘Mázia‘, with Ana introducing her musicians Gaspar Varela on the Portuguese guitar, André Moreira on bass, Rodrigo Correia on guitar, and Ariel Rosa on drums, calling the dancers back to the stage and Pedro Mafama and Paulo Flores and says goodbye with lots of kisses and saying “It was just love, what happened here”.
Concert setlist
- ‘Minha Mãe’
- ‘Janela Escancarada’
- ‘Andorinhas’
- ‘Corridinha’
- ‘Estranha Forma de Vida’
- ‘Linda Forma de Morrer’ com Pedro Mafama
- ‘Agarra em Mim’ com Pedro Mafama
- ‘Antes que Eu Morra’
- ‘Jacarandá’
- ‘Calunga’
- ‘Desfado’
- ‘Colheita’
- ‘Trigo’
- ‘Nossa Senhora das Dores’
- ‘Birim Birim’
- ‘Mázia’ com Paulo Flores
- ‘Poema do Semba’ com Paulo Flores
- ‘Classe’
- ‘Sozinha Lá Fora’
- ‘Arraial Triste’
- ‘Loucura’
- ‘Te Amo’
- ‘Mázia’
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