Podcast appearances and mentions of Cristina Branco

durée : 02:28:50 - France Musique est à vous du samedi 19 octobre 2024 - par : Gabrielle Oliveira-Guyon - Au programme de ce samedi, une nouvelle sélection de découvertes et suggestions venues de tous horizons, proposées par nos auditeurs et auditrices : Heitor Villa-Lobos, Míkis Theodorákis, Hans Fährmann, Cristina Branco ou encore Agathe Backer Grøndahl. - réalisé par : Emmanuel Benito

En el Teatro Albéniz, conversación con la extraordinaria fadista Carminho -que nos canta a capella algunos fragmentos de canciones-, el director del Festival de Fado de Madrid, Frederico Carmo, y Valeria Juste, directora comercial del Umusic Hotel Teatro Albéniz, felizmente recuperado para la ciudad. El Festival se celebrará los días 5, 7 y 8 de junio: el 5 Júlio Resende (Caixaforum), el 7 Carminho y el 8 Cristina Branco (ambas en el Albéniz) con, además, una conferencia de Rui Vieira Nery sobre "El fado y la libertad" en la Filmoteca Española Cine Doré el día 7.Escuchar audio

É cantora - não fadista. "Mãe", o seu álbum mais recente, reúne nomes maiores da poesia e tem-na levado pelo mundo para espalhar as palavras que tantos não entendem, mas sentem. Porque é na música que gosta de viver.

“I play the double bass as a professional musician. I don't consider myself a piano player, but I play a little bit of piano, of course. Every musician should play a little bit of piano to understand harmony. And if you want to compose or to arrange music, you need to know basic piano. So I play a little bit of piano. Actually, I started to play guitar before the double bass, because it was not so easy to get a double bass 40 years ago. My father was a bass player, but he never had a bass at home. So I started to play guitar first, and I was really into Bossa Nova and those chords from João Gilberto, and it was a big influence in my early years. But then I found a double bass when I was sixteen or seventeen– it was a terrible double bass, but it was enough to start with. Today, that sounds kind of late to start learning an instrument, but back then it wasn't so terrible. Now you have small double basses that kids of nine, ten years old can start playing. In the eighties, if you were small, you could not play double bass, basically.”Bernardo Moreira is one of the most active Portuguese double bassists. He has performed as a guest soloist with Gulbenkian, Metropolitan de Lisboa, and Nacional do Porto orchestras, and gained prominence for his collaborations with international artists, including the legendary Benny Colson, Freddie Hubbard, Wayne Shorter, Art Farmer, and Kenny Wheeler. He is a regular collaborator with many jazz musicians in Portugal, participating in formations such as the Maria João/Mário Laginha quartet, the Mário Laginha trio, and singer Cristina Branco. In 2021, he released Enter Paredes, and in 2022, he led Cantina's de Main and SUL.www.clavenamao.orghttps://open.spotify.com/artist/0Yse2njeXg2XDiQmmxhAc5www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcastMusic on this episode:António Marinheiro, Bernardo Moreira Sextet, from the album Entre Paredes PROMESSAS MIX V3 ULT from SULCourtesy of Bernardo Moreira

Bernardo Moreira is one of the most active Portuguese double bassists. He has performed as a guest soloist with Gulbenkian, Metropolitan de Lisboa, and Nacional do Porto orchestras, and gained prominence for his collaborations with international artists, including the legendary Benny Colson, Freddie Hubbard, Wayne Shorter, Art Farmer, and Kenny Wheeler. He is a regular collaborator with many jazz musicians in Portugal, participating in formations such as the Maria João/Mário Laginha quartet, the Mário Laginha trio, and singer Cristina Branco. In 2021, he released Enter Paredes, and in 2022, he led Cantina's de Main and SUL.“I play the double bass as a professional musician. I don't consider myself a piano player, but I play a little bit of piano, of course. Every musician should play a little bit of piano to understand harmony. And if you want to compose or to arrange music, you need to know basic piano. So I play a little bit of piano. Actually, I started to play guitar before the double bass, because it was not so easy to get a double bass 40 years ago. My father was a bass player, but he never had a bass at home. So I started to play guitar first, and I was really into Bossa Nova and those chords from João Gilberto, and it was a big influence in my early years. But then I found a double bass when I was sixteen or seventeen– it was a terrible double bass, but it was enough to start with. Today, that sounds kind of late to start learning an instrument, but back then it wasn't so terrible. Now you have small double basses that kids of nine, ten years old can start playing. In the eighties, if you were small, you could not play double bass, basically.”www.clavenamao.orghttps://open.spotify.com/artist/0Yse2njeXg2XDiQmmxhAc5www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcastMusic on this episode:António Marinheiro, Bernardo Moreira Sextet, from the album Entre Paredes PROMESSAS MIX V3 ULT from SULCourtesy of Bernardo Moreira

“I play the double bass as a professional musician. I don't consider myself a piano player, but I play a little bit of piano, of course. Every musician should play a little bit of piano to understand harmony. And if you want to compose or to arrange music, you need to know basic piano. So I play a little bit of piano. Actually, I started to play guitar before the double bass, because it was not so easy to get a double bass 40 years ago. My father was a bass player, but he never had a bass at home. So I started to play guitar first, and I was really into Bossa Nova and those chords from João Gilberto, and it was a big influence in my early years. But then I found a double bass when I was sixteen or seventeen– it was a terrible double bass, but it was enough to start with. Today, that sounds kind of late to start learning an instrument, but back then it wasn't so terrible. Now you have small double basses that kids of nine, ten years old can start playing. In the eighties, if you were small, you could not play double bass, basically.”Bernardo Moreira is one of the most active Portuguese double bassists. He has performed as a guest soloist with Gulbenkian, Metropolitan de Lisboa, and Nacional do Porto orchestras, and gained prominence for his collaborations with international artists, including the legendary Benny Colson, Freddie Hubbard, Wayne Shorter, Art Farmer, and Kenny Wheeler. He is a regular collaborator with many jazz musicians in Portugal, participating in formations such as the Maria João/Mário Laginha quartet, the Mário Laginha trio, and singer Cristina Branco. In 2021, he released Enter Paredes, and in 2022, he led Cantina's de Main and SUL.www.clavenamao.orghttps://open.spotify.com/artist/0Yse2njeXg2XDiQmmxhAc5www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcastMusic on this episode:António Marinheiro, Bernardo Moreira Sextet, from the album Entre Paredes PROMESSAS MIX V3 ULT from SULCourtesy of Bernardo Moreira

“I had so many people around me when I was young– famous poets like Ary dos Santos, one of Portugal's greatest poets of the 20th century. Sometimes he would be there talking with my mother, and I had this information that was getting in, but I wasn't aware of it. And then in the early days, when I had just started playing, I was really into modern jazz, which was very instrumental, so I didn't really pay attention to lyrics. It took me a while to get interested in Portuguese music, and in that mixture between jazz, Fado music and Portuguese popular music. For a while I was into the importance of a good poem. Now what moves me most of the time is that mixture of cultures— trying to do something that you cannot find in other countries. If you are into a lot of American jazz, for instance, you can play great music, but you are always playing music that started elsewhere, you know? And for a European like me, it's challenging to try and find what makes you different in such a big market. What sound can you try to create that you wouldn't hear in France or in Japan or in New York? So that's a very difficult challenge, actually, because you try to get really into your heart and your emotion. And I think Portugal has a lot of good emotions in its popular music that you don't find elsewhere. The music I make always has a kind of nostalgic ambience. It's not always sadness. It's a melancholic approach that is very hard to put into words– you just need to feel it.”Bernardo Moreira is one of the most active Portuguese double bassists. He has performed as a guest soloist with Gulbenkian, Metropolitan de Lisboa, and Nacional do Porto orchestras, and gained prominence for his collaborations with international artists, including the legendary Benny Colson, Freddie Hubbard, Wayne Shorter, Art Farmer, and Kenny Wheeler. He is a regular collaborator with many jazz musicians in Portugal, participating in formations such as the Maria João/Mário Laginha quartet, the Mário Laginha trio, and singer Cristina Branco. In 2021, he released Enter Paredes, and in 2022, he led Cantina's de Main and SUL.www.clavenamao.orghttps://open.spotify.com/artist/0Yse2njeXg2XDiQmmxhAc5www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcastMusic on this episode:António Marinheiro, Bernardo Moreira Sextet, from the album Entre Paredes PROMESSAS MIX V3 ULT from SULCourtesy of Bernardo Moreira

Bernardo Moreira is one of the most active Portuguese double bassists. He has performed as a guest soloist with Gulbenkian, Metropolitan de Lisboa, and Nacional do Porto orchestras, and gained prominence for his collaborations with international artists, including the legendary Benny Colson, Freddie Hubbard, Wayne Shorter, Art Farmer, and Kenny Wheeler. He is a regular collaborator with many jazz musicians in Portugal, participating in formations such as the Maria João/Mário Laginha quartet, the Mário Laginha trio, and singer Cristina Branco. In 2021, he released Enter Paredes, and in 2022, he led Cantina's de Main and SUL.“I had so many people around me when I was young– famous poets like Ary dos Santos, one of Portugal's greatest poets of the 20th century. Sometimes he would be there talking with my mother, and I had this information that was getting in, but I wasn't aware of it. And then in the early days, when I had just started playing, I was really into modern jazz, which was very instrumental, so I didn't really pay attention to lyrics. It took me a while to get interested in Portuguese music, and in that mixture between jazz, Fado music and Portuguese popular music. For a while I was into the importance of a good poem. Now what moves me most of the time is that mixture of cultures— trying to do something that you cannot find in other countries. If you are into a lot of American jazz, for instance, you can play great music, but you are always playing music that started elsewhere, you know? And for a European like me, it's challenging to try and find what makes you different in such a big market. What sound can you try to create that you wouldn't hear in France or in Japan or in New York? So that's a very difficult challenge, actually, because you try to get really into your heart and your emotion. And I think Portugal has a lot of good emotions in its popular music that you don't find elsewhere. The music I make always has a kind of nostalgic ambience. It's not always sadness. It's a melancholic approach that is very hard to put into words– you just need to feel it.”www.clavenamao.orghttps://open.spotify.com/artist/0Yse2njeXg2XDiQmmxhAc5www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcastMusic on this episode:António Marinheiro, Bernardo Moreira Sextet, from the album Entre Paredes PROMESSAS MIX V3 ULT from SULCourtesy of Bernardo Moreira

“I had so many people around me when I was young– famous poets like Ary dos Santos, one of Portugal's greatest poets of the 20th century. Sometimes he would be there talking with my mother, and I had this information that was getting in, but I wasn't aware of it. And then in the early days, when I had just started playing, I was really into modern jazz, which was very instrumental, so I didn't really pay attention to lyrics. It took me a while to get interested in Portuguese music, and in that mixture between jazz, Fado music and Portuguese popular music. For a while I was into the importance of a good poem. Now what moves me most of the time is that mixture of cultures— trying to do something that you cannot find in other countries. If you are into a lot of American jazz, for instance, you can play great music, but you are always playing music that started elsewhere, you know? And for a European like me, it's challenging to try and find what makes you different in such a big market. What sound can you try to create that you wouldn't hear in France or in Japan or in New York? So that's a very difficult challenge, actually, because you try to get really into your heart and your emotion. And I think Portugal has a lot of good emotions in its popular music that you don't find elsewhere. The music I make always has a kind of nostalgic ambience. It's not always sadness. It's a melancholic approach that is very hard to put into words– you just need to feel it.”Bernardo Moreira is one of the most active Portuguese double bassists. He has performed as a guest soloist with Gulbenkian, Metropolitan de Lisboa, and Nacional do Porto orchestras, and gained prominence for his collaborations with international artists, including the legendary Benny Colson, Freddie Hubbard, Wayne Shorter, Art Farmer, and Kenny Wheeler. He is a regular collaborator with many jazz musicians in Portugal, participating in formations such as the Maria João/Mário Laginha quartet, the Mário Laginha trio, and singer Cristina Branco. In 2021, he released Enter Paredes, and in 2022, he led Cantina's de Main and SUL.www.clavenamao.orghttps://open.spotify.com/artist/0Yse2njeXg2XDiQmmxhAc5www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcastMusic on this episode:António Marinheiro, Bernardo Moreira Sextet, from the album Entre Paredes PROMESSAS MIX V3 ULT from SULCourtesy of Bernardo Moreira

Bernardo Moreira is one of the most active Portuguese double bassists. He has performed as a guest soloist with Gulbenkian, Metropolitan de Lisboa, and Nacional do Porto orchestras, and gained prominence for his collaborations with international artists, including the legendary Benny Colson, Freddie Hubbard, Wayne Shorter, Art Farmer, and Kenny Wheeler. He is a regular collaborator with many jazz musicians in Portugal, participating in formations such as the Maria João/Mário Laginha quartet, the Mário Laginha trio, and singer Cristina Branco. In 2021, he released Enter Paredes, and in 2022, he led Cantina's de Main and SUL.“I had so many people around me when I was young– famous poets like Ary dos Santos, one of Portugal's greatest poets of the 20th century. Sometimes he would be there talking with my mother, and I had this information that was getting in, but I wasn't aware of it. And then in the early days, when I had just started playing, I was really into modern jazz, which was very instrumental, so I didn't really pay attention to lyrics. It took me a while to get interested in Portuguese music, and in that mixture between jazz, Fado music and Portuguese popular music. For a while I was into the importance of a good poem. Now what moves me most of the time is that mixture of cultures— trying to do something that you cannot find in other countries. If you are into a lot of American jazz, for instance, you can play great music, but you are always playing music that started elsewhere, you know? And for a European like me, it's challenging to try and find what makes you different in such a big market. What sound can you try to create that you wouldn't hear in France or in Japan or in New York? So that's a very difficult challenge, actually, because you try to get really into your heart and your emotion. And I think Portugal has a lot of good emotions in its popular music that you don't find elsewhere. The music I make always has a kind of nostalgic ambience. It's not always sadness. It's a melancholic approach that is very hard to put into words– you just need to feel it.”www.clavenamao.orghttps://open.spotify.com/artist/0Yse2njeXg2XDiQmmxhAc5www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcastMusic on this episode:António Marinheiro, Bernardo Moreira Sextet, from the album Entre Paredes PROMESSAS MIX V3 ULT from SULCourtesy of Bernardo Moreira

Bernardo Moreira is one of the most active Portuguese double bassists. He has performed as a guest soloist with Gulbenkian, Metropolitan de Lisboa, and Nacional do Porto orchestras, and gained prominence for his collaborations with international artists, including the legendary Benny Colson, Freddie Hubbard, Wayne Shorter, Art Farmer, and Kenny Wheeler. He is a regular collaborator with many jazz musicians in Portugal, participating in formations such as the Maria João/Mário Laginha quartet, the Mário Laginha trio, and singer Cristina Branco. In 2021, he released Enter Paredes, and in 2022, he led Cantina's de Main and SUL.“I would love if young people understood that art is one of the things that make you a human and not a robot. That's the difference. And if we could pass on that message, what makes us human beings, it's exactly our ability to feel. We need to do it in the schools and the teacher should be the most important person in the world right now - good teachers who pass that message to young people. They need to focus on the important things to get that capacity to concentrate. If we lose the concentration capacity, then we are becoming robots, and so for me, the challenge is really for the young people and teachers, telling them the importance of paying attention to the important things.”www.clavenamao.orghttps://open.spotify.com/artist/0Yse2njeXg2XDiQmmxhAc5www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcastMusic on this episode:António Marinheiro, Bernardo Moreira Sextet, from the album Entre Paredes PROMESSAS MIX V3 ULT from SULCourtesy of Bernardo Moreira

“I would love if young people understood that art is one of the things that make you a human and not a robot. That's the difference. And if we could pass on that message, what makes us human beings, it's exactly our ability to feel. We need to do it in the schools and the teacher should be the most important person in the world right now - good teachers who pass that message to young people. They need to focus on the important things to get that capacity to concentrate. If we lose the concentration capacity, then we are becoming robots, and so for me, the challenge is really for the young people and teachers, telling them the importance of paying attention to the important things.”Bernardo Moreira is one of the most active Portuguese double bassists. He has performed as a guest soloist with Gulbenkian, Metropolitan de Lisboa, and Nacional do Porto orchestras, and gained prominence for his collaborations with international artists, including the legendary Benny Colson, Freddie Hubbard, Wayne Shorter, Art Farmer, and Kenny Wheeler. He is a regular collaborator with many jazz musicians in Portugal, participating in formations such as the Maria João/Mário Laginha quartet, the Mário Laginha trio, and singer Cristina Branco. In 2021, he released Enter Paredes, and in 2022, he led Cantina's de Main and SUL.www.clavenamao.orghttps://open.spotify.com/artist/0Yse2njeXg2XDiQmmxhAc5www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcastMusic on this episode:António Marinheiro, Bernardo Moreira Sextet, from the album Entre Paredes PROMESSAS MIX V3 ULT from SULCourtesy of Bernardo Moreira

Bernardo Moreira is one of the most active Portuguese double bassists. He has performed as a guest soloist with Gulbenkian, Metropolitan de Lisboa, and Nacional do Porto orchestras, and gained prominence for his collaborations with international artists, including the legendary Benny Colson, Freddie Hubbard, Wayne Shorter, Art Farmer, and Kenny Wheeler. He is a regular collaborator with many jazz musicians in Portugal, participating in formations such as the Maria João/Mário Laginha quartet, the Mário Laginha trio, and singer Cristina Branco. In 2021, he released Enter Paredes, and in 2022, he led Cantina's de Main and SUL.“It took me some time to understand where I was going to see myself. It's true that, at home, me and my brothers had a beautiful cultural environment because my father was, not a professional musician, but a jazz lover. He was really into jazz music and really passionate about it. But he was never a professional musician. He was an amateur. My mother, also, was a teacher and a writer, so I think we had this environment at home that got us into music. We were always listening either to opera or to jazz. Of course, we had our preferences when we were kids– we loved The Beatles and The Rolling Stones. But we always had this different approach because of our mother and father. Everything that influenced us came through them, even if we didn't know it. When I was fourteen or fifteen I started to feel a need to play an instrument. And one thing that helped a lot was the fact that we were four brothers and we started to play music together. We had this small combo happening at home almost every day, every hour. And it was a quick sensation– immediately I understood that this was what I was going to do for the rest of my life.”www.clavenamao.orghttps://open.spotify.com/artist/0Yse2njeXg2XDiQmmxhAc5www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcastMusic on this episode:António Marinheiro, Bernardo Moreira Sextet, from the album Entre Paredes PROMESSAS MIX V3 ULT from SULCourtesy of Bernardo Moreira

“It took me some time to understand where I was going to see myself. It's true that, at home, me and my brothers had a beautiful cultural environment because my father was, not a professional musician, but a jazz lover. He was really into jazz music and really passionate about it. But he was never a professional musician. He was an amateur. My mother, also, was a teacher and a writer, so I think we had this environment at home that got us into music. We were always listening either to opera or to jazz. Of course, we had our preferences when we were kids– we loved The Beatles and The Rolling Stones. But we always had this different approach because of our mother and father. Everything that influenced us came through them, even if we didn't know it. When I was fourteen or fifteen I started to feel a need to play an instrument. And one thing that helped a lot was the fact that we were four brothers and we started to play music together. We had this small combo happening at home almost every day, every hour. And it was a quick sensation– immediately I understood that this was what I was going to do for the rest of my life.”Bernardo Moreira is one of the most active Portuguese double bassists. He has performed as a guest soloist with Gulbenkian, Metropolitan de Lisboa, and Nacional do Porto orchestras, and gained prominence for his collaborations with international artists, including the legendary Benny Colson, Freddie Hubbard, Wayne Shorter, Art Farmer, and Kenny Wheeler. He is a regular collaborator with many jazz musicians in Portugal, participating in formations such as the Maria João/Mário Laginha quartet, the Mário Laginha trio, and singer Cristina Branco. In 2021, he released Enter Paredes, and in 2022, he led Cantina's de Main and SUL.www.clavenamao.orghttps://open.spotify.com/artist/0Yse2njeXg2XDiQmmxhAc5www.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcastMusic on this episode:António Marinheiro, Bernardo Moreira Sextet, from the album Entre Paredes PROMESSAS MIX V3 ULT from SULCourtesy of Bernardo Moreira

Cristina Branco ― Mãe, 2023. Éme ― Domingo à tarde, 2017. Terra de Miranda, 1987. André Barros ― Vivid, 2021. Criatura ― Bem bonda, 2021. Edição nº 407, de 21 de outubro de 2023

Quarta-feira, às 21:00, actua o maestro e compositor Rui Massena, com o seu Ensemble. Quinta e sexta-feira, o projecto Fado em Movimento convoca Cristina Branco e o Ensemble Des Équilibres. Sábado é dia de celebrações do Dia Mundial da Música. Domingo, o Ciclo Piano Fundação EDP apresenta a multi-premiada jovem pianista italiana Beatrice Rana. Estas e outras propostas na edição desta semana da Música da Casa.  locução: Sónia Borges · produção e sonoplastia: Miguel Sousa 

Alaíde Costa, Porridge Radio, Lykke Li e a dupla João Paulo Esteves da Silva & Cristina Branco estão entre os destaques a ouvir esta semana. See omnystudio.com/listener for privacy information.

Seit 25 Jahren mischt Cristina Branco Fado mit Jazz- und Folkmusik. Ihr neues Album handelt von ihrem Alter Ego „Eva“, das sie seit 2006 pflegt und für das sie sogar ein Tagebuch schreibt.

Heute geht es auf Musikreise unter anderem nach Portugal, in die Türkei, durch den Kongo und Amerika mit Jonathan Fischer, Vincent Segal, Cristina Branco, Sam Mangwana, Altin Gün, Alabama Slim und Urban Village.

Comencem amb propostes basades en el patr

Cristina Branco regressa aos palcos para apresentar "Eva", o alterego da artista criado há 15 anos. Lançado no início da pandemia, é a estreia do álbum ao vivo e olhos nos olhos com o público. See omnystudio.com/listener for privacy information.

Cristina Branco é a convidada desta semana do Posto Emissor. O regresso aos palcos, depois da paragem forçada pela pandemia, o recente concerto com Jorge Palma e as saudades de Amesterdão foram alguns dos temas da conversa. Neste Posto Emissor, falamos ainda sobre os discos novos de Idles e Sevdaliza e dos concertos marcados para os próximos tempos

Há muitos muitos anos, era apresentada (apenas) como fadista, ou como uma das únicas artistas portuguesas a ter sucesso internacional – ainda hoje, é uma diva com honras de estado em países como a Holanda, onde até já viveu, e foi na Dinamarca que terminou o novo álbum. Já cantou Vinicius, Buarque ou Camões. Neste novo “EVA”, convocou para si letras como “A vida é uma prova de esforço”, de Pedro da Silva Martins e Luís José Martins, ou “Não é defeito, é feitio de quem não dormiu”, escreve Filipe Sambado. Mas também Márcia, Sara Tavares e muitos outros autores da nova (mais ou menos nova, vá) geração que fervilha de talento. “É muito bonito mostrar as coisas na internet, mas nós precisamos de trabalhar”, disse há tempos numa entrevista, algo que é ainda mais fulcral para quem construiu boa parte da sua carreira além-fronteiras. Para já, toca em Loulé a 5 de outubro – Loulé, terra onde começou a criar este novo álbum numa residência artística - e toca também no Capitólio a 8 de outubro. Depois, concertos pela Europa fora, se o Covid o permitir, e sempre cumprindo a dieta alcalina. Não sabe o que é? A Cristina Branco explica - até lançou um livro de receitas chamado “Road Cook”. Sim, porque o que comemos também pode fazer bem, ou mal, à voz. Connosco no Era o Que Faltava, Cristina Branco. 

Música y Palabras programa 800, Verano 2020. Realizamos un viaje a través de la música con Vallarna, Zamburiel, Judith Mateo, Jaime Vidal y Carlos Martin, Borja Ruiz, Borealis, La Musgaña, Cristina Branco y La Bojiganga. Lord Sassafras nos acerca las músicas del mundo en Sonidos Sassafras con un especial verano world music. Suscribete a nuestros episodios y no te pierdas ninguno Apoya nuestros podcast, hazte fans para continuar con la difusión de la cultura en audio.

Música y Palabras programa 800, Verano 2020. Realizamos un viaje a través de la música con Vallarna, Zamburiel, Judith Mateo, Jaime Vidal y Carlos Martin, Borja Ruiz, Borealis, La Musgaña, Cristina Branco y La Bojiganga. Lord Sassafras nos acerca las músicas del mundo en Sonidos Sassafras con un especial verano world music. Suscribete a nuestros episodios y no te pierdas ninguno Apoya nuestros podcast, hazte fans para continuar con la difusión de la cultura en audio.

Argentinië: Ariel Ramirez.   Nadat componist Ariel Ramírez de Argentijnse volkszanger Atahualpa Yupanqui ontmoette, begon zijn levenslange interesse voor Argentijnse volksmuziek. Zijn composities zitten vol met volksdansen en authentieke Argentijnse instrumenten.   1 – Cristina Branco. Alfonsina y el mar. Muziek: Ariel Ramírez, tekst: Félix Luna. 2 – Atahualpa Yupanqui. Basta ya. 3 – Ariel […]

Neste período combate à pandemia do novo coronavírus, crítico para Portugal e para o mundo, é urgente que todos respeitem as directrizes da Organização Mundial de Saúde e autoridades de saúde para nos livrarmos desse vírus o mais rápido possível. Com o objetivo de incentivar os portugueses a ficarem em casa, 78 músicos participam no #FestivalEuFicoEmCasa. Até ao próximo domingo, das 17h às 23h30, hora de Portugal, os artistas revezam-se a cada meia hora, dando um concerto, desde casa, que é transmitido através do Instagram de cada um dos músicos. Entre muitos outros, o festival junta nomes como, Ana Moura, Matias Damásio, António Zambujo, Ana Bacalhau, Boss AC ou Nelson Freitas. Paulo Furtado - The Legendary Tigerman, Capicua e Selma Uamusse também participam no festival e falaram com a Radio France International. Horários previstos dos concertos: 17 de Março 17h00 – Bárbara Tinoco  @tinoco.barbara 17h30 – André Henriques  @_andrehenriques_ 18h00 – Elisa Rodrigues  @elisarodrigues.music 18h30 – Buba Espinho  @buba_espinho 19h00 – Filipe Gonçalves  @filipegoncalves_oficial 19h30 – João Pedro Pais  @jpedropais 20h00 – DOMI  @domi_8500 20h30 – Cristina Branco  @cristinabrancoficial 21h00 – Boss AC  @bossacoficial 21h30 – Diogo Piçarra  @diogopicarra 22h00 – David Fonseca  @davidfonseca 22h30 – Samuel Úria  @samueluria 23h00 – BRANKO  @brankoofficial 18 de Março 17h00 – Tiago Nacarato  @tiago_nacarato 17h30 – Lince  @lince.music 18h00 – Irma  @irma_______________ 18h30 – Filho da Mãe  @umfilhodamae 19h00 – André Sardet  @andresardetoficial 19h30 – Tomás Adrião  @tomas__adriao 20h00 – Chico da Tina @chicodatina_almostofficial 20h30 – April Ivy  @aprilivymusic 21h00 – Murta  @bymurta 21h30 – Fernando Daniel  @ofernandodaniel 22h00 – Márcia  @marciaoficial_insta 22h30 – Noiserv  @noiserv 23h00 – Supa Squad  @supasquadmusic 19 de Março 17h00 – Paulo Sousa @paulonsousa 17h30 – Afonso Cabral  @afonsoc 18h00 – Joana Espadinha & Cassete Pirata  @joanaespadinha & @cassetepirataoficial 18h30 – Tainá  @tainamusic 19h00 – Fábia Rebordão  @fabiarebordao 19h30 – Bispo  @bispo2725 20h00 – Mirai  @eversenpai 20h30 – Marta Carvalho  @martacarvalhomusic 21h00 – António Zambujo  @antonio.zambujo 21h30 – Mafalda Veiga  @mafalda_v 22h00 – Matias Damásio  @matias_damasio_oficial 22h30 – Prodígio  @pro2da 23h00 – DJ RIDE  @djride_beatbombers 20 de Março 17h00 – Tomás Wallenstein  @tomaswallenstein 17h30 – Sean Riley  @seanrileyandtheslowriders 18h00 – Frankie Chavez  @frankie_chavez 18h30 – Catarina Munhá  @catarinamunha 19h00 – Kalú  @kaluferreira58 19h30 – Cláudia Pascoal  @claudiapascoal_ 20h00 – Nelson Freitas  @iamnelsonfreitas 20h30 – Marco Rodrigues  @marcorodrigues_oficial 21h00 – AGIR  @agirofficial 21h30 – Pedro Abrunhosa  @pedro.abrunhosa 22h00 – Capicua  @a_capicua 22h30 – Pedro Mafama  @pedromafama 23h00 – Stereossauro  @stereossauro_beatbombers 21 de Março 17h00 – Valas  @johnnyvalas 17h30 – O Gajo  @_ogajo_ 18h00 – Joana Almeida  @joanaalmeidafado 18h30 – Luís Severo  @luissevero_ 19h00 – Benjamim  @eusouobenjamim 19h30 – Jorge Benvinda  @jorgembenvinda 20h00 – Cálculo  @ocalculo 20h30 – Rui Massena  @ruimassenamaestro 21h00 – Héber Marques  @heber_marques 21h30 – Carolina Deslandes  @carolinadeslandes 22h00 – The Legendary Tigerman  @thelegendarytigerman 22h30 – Ana Bacalhau  @anabacalhau 23h00 – Moullinex  @moullinex 22 de Março 17h00 – Fausto Bordalo Dias  @festivaleuficoemcasa 17h30 – João Só  @joao.so.insta 18h00 – Sara Correia  @saracorreiafado 18h30 – Júlio Resende  @julioresende.piano 19h00 – Selma Uamusse  @selma_uamusse 19h30 – Ricardo Ribeiro  @ricardoribeiromusic 20h00 – Best Youth  @wearebestyouth 20h30 – Nuno Ribeiro  @nunoribeiro_oficial 21h00 – Ana Moura  @anamourafado 21h30 – David Carreira  @davidcarreiraoficial 22h00 – Luísa Sobral  @luisasobral 22h30 – Tiago Bettencourt  @tiagobettencourt 23h00 – Xinobi  @xinobi  

Tem mais de duas mãos cheias de discos editados, nos seus mais de 20 anos de carreira. É cantora, apaixonou-se pelo fado com 18 anos,

O novo álbum é autobiográfico, é lançado no dia 20 de Março e conta com a colaboração de músicos como André Henriques e Filipe Sambado

"Eva" chega a 6 de março e fecha uma trilogia iniciada com "Menina" e que continuou com "Branco". "Delicadeza" é o 1º single. O vídeo merece ser visto, como esta conversa merece ser escutada. 

1  Amalia Rodrigues   Vamos Cantar as Janeiras    2 31 2  John Neschling   Haja O Que Houver (Madredeus)    4 28 3  John Neschling   Fado (Dulce Pontes)     2 36 4  Luisa Sobral & António Zambujo   Inês     3 30 5  Cristina Branco   Avec Le Temps va (Léo Férré)    3 56 6  Ana e Suas Irmãs   Nono Andar    2 51 7  Carlos Paredes & Rodrigo Leao   Movimentos Perpétuos    2 05 8  João Pedro Pais   Lembra-me um sonho lindo    4 11

durée : 02:00:08 - Musique matin du lundi 28 octobre 2019 - par : Gabrielle Oliveira-Guyon - Jules Dussap et Gabrielle Lafait, du Quatuor Hanson, sont nos invités ce matin en raison de la sortie de leur nouveau disque "All shall not die", sorti le 11 octobre et entièrement dédié à Joseph Haydn. - réalisé par : Yassine Bouzar

1 Capitao Fausto  Sempre Bem   3 18 2 Eugénia Melo & Castro  Medo de Amar   4 19 3 Amalia Rodrigues  Fados e Guitarradas au Portugal  2 57 4 Dulce Pontes  A Ilha do Meu Fado   4 00 5 Amalia Rodrigues  Maldicao  4 35  6 Cristina Branco  Bichinhos Distraídos   3 38 7 Madredeus  Ecos Na Catedral    6 18 8 Cristina Branco  Histórias Do Tempo    3 13 9 Madredeus  Estrada do Monte   3 42 10 Danças Ocultas  Porto Seguro  3 48 11 Dulce Pontes  O Primeiro Canto     3 11 12 Eugénia Melo & Castro  Serenata do Adeus    3 20 13 Dulce Pontes  Fado Corrido De Coimbra  3 30 14 Eugénia Melo & Castro  Canta Canta Mais   3 50 15 Dulce Pontes  Alma Guerreira (Fogo)   4 49 16 Madredeus  Estrada da Montanha    3 21 17 Dulce Pontes  Catedral de Lisboa   4 40 18 Eugenia Melo & Castro  Duas Cidades   3 14  19 Cristina Branco  Trago Um Fado   3 12

It's all over! After eleven weeks of Pessoa, Chad and Brian have finished The Book of Disquiet. And to celebrate, they each wrote some jacket copy and blurbs and went hard at trying to get BINGO for someone. They also preview the next season of TMR and come up with a very marketable Pessoa-themed product idea . . .  As always, you can find the video for this episode on our YouTube channel, where we livestream the episodes. Stay tuned for more details about the schedule for Season 7: Radiant Terminus by Antoine Volodine. Feel free to comment on this episode—or on the book in general—either on this post, or at the official GoodReads Group. Follow Open Letter, Chad Post, and Brian Wood for more thoughts on Pessoa and literature in general, and for information about upcoming guests. You can find all the Two Month Review posts by clicking here. And be sure to leave us a review on iTunes. It really helps people to discover the podcast. This season's opening music is "E Às Vezes Dou Por Mim" by contemporary fado star Cristina Branco. And the episode ends with an energetic blast of bad music. 

It's all over! After eleven weeks of Pessoa, Chad and Brian have finished The Book of Disquiet. And to celebrate, they each wrote some jacket copy and blurbs and went hard at trying to get BINGO for someone. They also preview the next season of TMR and come up with a very marketable Pessoa-themed product idea . . .  As always, you can find the video for this episode on our YouTube channel, where we livestream the episodes. Stay tuned for more details about the schedule for Season 7: Radiant Terminus by Antoine Volodine. Feel free to comment on this episode—or on the book in general—either on this post, or at the official GoodReads Group. Follow Open Letter, Chad Post, and Brian Wood for more thoughts on Pessoa and literature in general, and for information about upcoming guests. You can find all the Two Month Review posts by clicking here. And be sure to leave us a review on iTunes. It really helps people to discover the podcast. This season's opening music is "E Às Vezes Dou Por Mim" by contemporary fado star Cristina Branco. And the episode ends with an energetic blast of bad music. 

Probably the most controversial Two Month Review to date, so buckle up! Are there unhinged rants? You bet! Questions regarding the marketing and "completeness" of the New Directions edition? Yep! A long discussion about the differences in voice between the both excellent Margaret Jull Costa and Richard Zenith translations? That too! It's a jam packed penultimate episode that's not to be missed. As always, you can find the video for this episode on our YouTube channel, where we livestream the episodes. Next week's podcast will cover sections 359-393 (pages 388-421 in the U.S. edition). Stay tuned for more details about the exact time. Feel free to comment on this episode—or on the book in general—either on this post, or at the official GoodReads Group. Follow Open Letter, Chad Post, and Brian Wood for more thoughts on Pessoa and literature in general, and for information about upcoming guests. You can find all the Two Month Review posts by clicking here. And be sure to leave us a review on iTunes. It really helps people to discover the podcast. This season's opening music is "E Às Vezes Dou Por Mim" by contemporary fado star Cristina Branco. And for next season can we please finish each episode with good music?

Probably the most controversial Two Month Review to date, so buckle up! Are there unhinged rants? You bet! Questions regarding the marketing and "completeness" of the New Directions edition? Yep! A long discussion about the differences in voice between the both excellent Margaret Jull Costa and Richard Zenith translations? That too! It's a jam packed penultimate episode that's not to be missed. As always, you can find the video for this episode on our YouTube channel, where we livestream the episodes. Next week's podcast will cover sections 359-393 (pages 388-421 in the U.S. edition). Stay tuned for more details about the exact time. Feel free to comment on this episode—or on the book in general—either on this post, or at the official GoodReads Group. Follow Open Letter, Chad Post, and Brian Wood for more thoughts on Pessoa and literature in general, and for information about upcoming guests. You can find all the Two Month Review posts by clicking here. And be sure to leave us a review on iTunes. It really helps people to discover the podcast. This season's opening music is "E Às Vezes Dou Por Mim" by contemporary fado star Cristina Branco. And for next season can we please finish each episode with good music?

This week David Smith—former Open Letter intern and current grad student at the University of Iowa—joins Chad and Brian to debate poetry vs. prose, separating the p.o.v. of Pessoa's heteronyms from his own personal viewpoint, Soares's morality and metaphysics, how to judge the quality of a translation, and much more. As a bonus, Brian shares his first ever work of erasure poetry! As always, you can find the video for this episode on our YouTube channel, where we livestream the episodes. Next week's podcast will cover sections 359-393 (pages 388-421 in the U.S. edition). Stay tuned for more details about the exact time. Feel free to comment on this episode—or on the book in general—either on this post, or at the official GoodReads Group. Follow Open Letter, Chad Post, and Brian Wood for more thoughts on Pessoa and literature in general, and for information about upcoming guests. You can find all the Two Month Review posts by clicking here. And be sure to leave us a review on iTunes. It really helps people to discover the podcast. This season's opening music is "E Às Vezes Dou Por Mim" by contemporary fado star Cristina Branco. And wow, Taking Back Sunday really sucks.

This week David Smith—former Open Letter intern and current grad student at the University of Iowa—joins Chad and Brian to debate poetry vs. prose, separating the p.o.v. of Pessoa's heteronyms from his own personal viewpoint, Soares's morality and metaphysics, how to judge the quality of a translation, and much more. As a bonus, Brian shares his first ever work of erasure poetry! As always, you can find the video for this episode on our YouTube channel, where we livestream the episodes. Next week's podcast will cover sections 359-393 (pages 388-421 in the U.S. edition). Stay tuned for more details about the exact time. Feel free to comment on this episode—or on the book in general—either on this post, or at the official GoodReads Group. Follow Open Letter, Chad Post, and Brian Wood for more thoughts on Pessoa and literature in general, and for information about upcoming guests. You can find all the Two Month Review posts by clicking here. And be sure to leave us a review on iTunes. It really helps people to discover the podcast. This season's opening music is "E Às Vezes Dou Por Mim" by contemporary fado star Cristina Branco. And wow, Taking Back Sunday really sucks.

Chad and Brian fly solo this week, filling in dozens of TMR Bingo squares, and trying to come up with "rules for writers" based on this particular section of The Book of Disquiet. It's a pretty imprecise set of rules, but whatever, in the words of Pessoa, "perfection is inhuman." They also talk a bit about a "Mount Rushmore of American Literature," whether or not listicles can hit a saturation point in which they're all useless, and much more. As always, you can find the video for this episode on our YouTube channel, where we livestream the episodes. Next week's podcast will cover sections 316-358 (pages 337-387 in the U.S. edition). Stay tuned for more details about the exact time. Feel free to comment on this episode—or on the book in general—either on this post, or at the official GoodReads Group. Follow Open Letter, Chad Post, and Brian Wood for more thoughts on Pessoa and literature in general, and for information about upcoming guests. You can find all the Two Month Review posts by clicking here. And be sure to leave us a review on iTunes. It really helps people to discover the podcast. This season's opening music is "E Às Vezes Dou Por Mim" by contemporary fado star Cristina Branco. And this week's closing music is the most Pessoa-like song we've included to date . . .

Chad and Brian fly solo this week, filling in dozens of TMR Bingo squares, and trying to come up with "rules for writers" based on this particular section of The Book of Disquiet. It's a pretty imprecise set of rules, but whatever, in the words of Pessoa, "perfection is inhuman." They also talk a bit about a "Mount Rushmore of American Literature," whether or not listicles can hit a saturation point in which they're all useless, and much more.  As always, you can find the video for this episode on our YouTube channel, where we livestream the episodes. Next week's podcast will cover sections 316-358 (pages 337-387 in the U.S. edition). Stay tuned for more details about the exact time. Feel free to comment on this episode—or on the book in general—either on this post, or at the official GoodReads Group. Follow Open Letter, Chad Post, and Brian Wood for more thoughts on Pessoa and literature in general, and for information about upcoming guests. You can find all the Two Month Review posts by clicking here. And be sure to leave us a review on iTunes. It really helps people to discover the podcast. This season's opening music is "E Às Vezes Dou Por Mim" by contemporary fado star Cristina Branco. And this week's closing music is the most Pessoa-like song we've included to date . . . 

This week's special guest is Portuguese author and translator João Reis who knows a lot about Pessoa and the writings of his various heteronyms. He also talks about his forthcoming novel, The Translator's Bride, and his work as a translator. There's some of the usual banter as well, including a solid rundown of everyone's favorite lines and some of Pessoa's sayings that have become Portuguese colloquialisms. Get your BINGO card here! And if you get a "bingo" while listening, send a picture of your playing card to Chad Post. Each week, the first person who does so will receive a special one-time code to get 30% off of any and everything on the Open Letter website. As always, you can find the video for this episode on our YouTube channel, where we livestream the episodes. Next week's podcast will cover sections 222-273 (pages 238-287 in the U.S. edition). Stay tuned for more details about the exact time. Feel free to comment on this episode—or on the book in general—either on this post, or at the official GoodReads Group. Follow Open Letter, Chad Post, and Brian Wood for more thoughts on Pessoa and literature in general, and for information about upcoming guests. You can find all the Two Month Review posts by clicking here. And be sure to leave us a review on iTunes. It really helps people to discover the podcast. This season's opening music is "E Às Vezes Dou Por Mim" by contemporary fado star Cristina Branco. And now Chad has heard some of a My Chemical Romance song.

This week's special guest is Portuguese author and translator João Reis who knows a lot about Pessoa and the writings of his various heteronyms. He also talks about his forthcoming novel, The Translator's Bride, and his work as a translator. There's some of the usual banter as well, including a solid rundown of everyone's favorite lines and some of Pessoa's sayings that have become Portuguese colloquialisms.   Get your BINGO card here! And if you get a "bingo" while listening, send a picture of your playing card to Chad Post. Each week, the first person who does so will receive a special one-time code to get 30% off of any and everything on the Open Letter website.   As always, you can find the video for this episode on our YouTube channel, where we livestream the episodes. Next week's podcast will cover sections 222-273 (pages 238-287 in the U.S. edition). Stay tuned for more details about the exact time.   Feel free to comment on this episode—or on the book in general—either on this post, or at the official GoodReads Group.   Follow Open Letter, Chad Post, and Brian Wood for more thoughts on Pessoa and literature in general, and for information about upcoming guests.   You can find all the Two Month Review posts by clicking here. And be sure to leave us a review on iTunes. It really helps people to discover the podcast.   This season's opening music is "E Às Vezes Dou Por Mim" by contemporary fado star Cristina Branco. And now Chad has heard some of a My Chemical Romance song.

This week's podcast goes off the rails pretty quickly, and includes a hungover dismissal of this version of The Book of Disquiet, the phrase "reclaim some of the douchery" is spoken, there is a lot of laughter, a discussion about the tensions between trying to read this as poetry vs. the expectations that come from trying to read it as fiction, and much more.  Get your BINGO card here! And if you get a "bingo" while listening, send a picture of your playing card to Chad Post. Each week, the first person who does so will receive a special one-time code to get 30% off of any and everything on the Open Letter website. As always, you can find the video for this episode on our YouTube channel, where we livestream the episodes. Next week's podcast will cover sections 222-273 (pages 238-287 in the U.S. edition). Stay tuned for more details about the exact time. Feel free to comment on this episode—or on the book in general—either on this post, or at the official GoodReads Group. Follow Open Letter, Chad Post, and Brian Wood for more thoughts on Pessoa and literature in general, and for information about upcoming guests. You can find all the Two Month Review posts by clicking here. And be sure to leave us a review on iTunes. It really helps people to discover the podcast. This season's opening music is "E Às Vezes Dou Por Mim" by contemporary fado star Cristina Branco. And here's another terrible emo song: "Better This Way" by The Get Up Kids.

This week's podcast goes off the rails pretty quickly, and includes a hungover dismissal of this version of The Book of Disquiet, the phrase "reclaim some of the douchery" is spoken, there is a lot of laughter, a discussion about the tensions between trying to read this as poetry vs. the expectations that come from trying to read it as fiction, and much more.  Get your BINGO card here! And if you get a "bingo" while listening, send a picture of your playing card to Chad Post. Each week, the first person who does so will receive a special one-time code to get 30% off of any and everything on the Open Letter website. As always, you can find the video for this episode on our YouTube channel, where we livestream the episodes. Next week's podcast will cover sections 222-273 (pages 238-287 in the U.S. edition). Stay tuned for more details about the exact time. Feel free to comment on this episode—or on the book in general—either on this post, or at the official GoodReads Group. Follow Open Letter, Chad Post, and Brian Wood for more thoughts on Pessoa and literature in general, and for information about upcoming guests. You can find all the Two Month Review posts by clicking here. And be sure to leave us a review on iTunes. It really helps people to discover the podcast. This season's opening music is "E Às Vezes Dou Por Mim" by contemporary fado star Cristina Branco. And here's another terrible emo song: "Better This Way" by The Get Up Kids.

This week Chad and Brian come to some conclusions about the Vicente Guedes part of The Book of Disquiet and get very excited about the more "mature, sophisticated" writings of Bernardo Soares. They both love this new voice and dig into what separates the heteronyms and their philosophies on life. And without a guest, Chad and Brian go on some entertaining digressions and keep trying to crack each other up. Informational, smart, and funny—the Two Month Review combination. Get your BINGO card here! And if you get a "bingo" while listening, send a picture of your playing card to Chad Post. Each week, the first person who does so will receive a special one-time code to get 30% off of any and everything on the Open Letter website. As always, you can find the video for this episode on our YouTube channel, where we livestream the episodes. Due to Chad's travel schedule, the timing of the next livestream is still up in the air, but will be announced on Twitter as soon as it's all confirmed. That episode—which will be available as a podcast on November 8th—will cover sections 174-221 (pages 190-237 in the U.S. edition). Stay tuned for more details about the exact time. Feel free to comment on this episode—or on the book in general—either on this post, or at the official GoodReads Group. Follow Open Letter, Chad Post, and Brian Wood for more thoughts on Pessoa and literature in general, and for information about upcoming guests. You can find all the Two Month Review posts by clicking here. And be sure to leave us a review on iTunes. It really helps people to discover the podcast. This season's opening music is "E Às Vezes Dou Por Mim" by contemporary fado star Cristina Branco. And here's another terrible emo song Chad had never listened to before today: "Ohio Is for Lovers" by Hawthorne Heights.

This week Chad and Brian come to some conclusions about the Vicente Guedes part of The Book of Disquiet and get very excited about the more "mature, sophisticated" writings of Bernardo Soares. They both love this new voice and dig into what separates the heteronyms and their philosophies on life. And without a guest, Chad and Brian go on some entertaining digressions and keep trying to crack each other up. Informational, smart, and funny—the Two Month Review combination. Get your BINGO card here! And if you get a "bingo" while listening, send a picture of your playing card to Chad Post. Each week, the first person who does so will receive a special one-time code to get 30% off of any and everything on the Open Letter website.  As always, you can find the video for this episode on our YouTube channel, where we livestream the episodes. Due to Chad's travel schedule, the timing of the next livestream is still up in the air, but will be announced on Twitter as soon as it's all confirmed. That episode—which will be available as a podcast on November 8th—will cover sections 174-221 (pages 190-237 in the U.S. edition). Stay tuned for more details about the exact time. Feel free to comment on this episode—or on the book in general—either on this post, or at the official GoodReads Group. Follow Open Letter, Chad Post, and Brian Wood for more thoughts on Pessoa and literature in general, and for information about upcoming guests. You can find all the Two Month Review posts by clicking here. And be sure to leave us a review on iTunes. It really helps people to discover the podcast. This season's opening music is "E Às Vezes Dou Por Mim" by contemporary fado star Cristina Branco. And here's another terrible emo song Chad had never listened to before today: "Ohio Is for Lovers" by Hawthorne Heights.  

Jerónimo Pizzaro—editor of the "complete edition" of The Book of Disquiet published by New Directions—is the special guest on this week's Two Month Review. He discusses his history with Pessoa, how this volume came to be, the next three volumes in the New Directions project, how to approach The Book of Disquiet and its separate halves, some of the philosophical shift that take place over the course of the book, and more. For Pessoa fans and newbies, this episode is not to be missed! As always, you can find the video for this episode on our YouTube channel, where we livestream the episodes every Wednesday morning. Next week we'll be covering sections 82-130 (pages 95-141 in the U.S. edition) with special guest Anthony Blake. Feel free to comment on this episode—or on the book in general—either on this post, or at the official GoodReads Group. Follow Open Letter, Chad Post, and Brian Wood for more thoughts on Pessoa and literature in general, and for information about upcoming guests. You can find all the Two Month Review posts by clicking here. And be sure to leave us a review on iTunes. It really helps people to discover the podcast. This season's opening music is "E Às Vezes Dou Por Mim" by contemporary fado star Cristina Branco. And, in keeping with the theme from last season, we'll be featuring a different emo rock song every episode for the outro music. Today it's Anthony Blake's favorite song from Chad's most hated band.

Jerónimo Pizzaro—editor of the "complete edition" of The Book of Disquiet published by New Directions—is the special guest on this week's Two Month Review. He discusses his history with Pessoa, how this volume came to be, the next three volumes in the New Directions project, how to approach The Book of Disquiet and its separate halves, some of the philosophical shift that take place over the course of the book, and more. For Pessoa fans and newbies, this episode is not to be missed! As always, you can find the video for this episode on our YouTube channel, where we livestream the episodes every Wednesday morning. Next week we'll be covering sections 82-130 (pages 95-141 in the U.S. edition) with special guest Anthony Blake. Feel free to comment on this episode—or on the book in general—either on this post, or at the official GoodReads Group. Follow Open Letter, Chad Post, and Brian Wood for more thoughts on Pessoa and literature in general, and for information about upcoming guests. You can find all the Two Month Review posts by clicking here. And be sure to leave us a review on iTunes. It really helps people to discover the podcast. This season's opening music is "E Às Vezes Dou Por Mim" by contemporary fado star Cristina Branco. And, in keeping with the theme from last season, we'll be featuring a different emo rock song every episode for the outro music. Today it's Anthony Blake's favorite song from Chad's most hated band.

This is one of the most Two Month Review podcasts yet. Chad, Brian, and Tom Flynn (Volumes Books in Chicago) come together to discuss the first forty-six pages (sections 1-39) of the complete version of Fernando Pessoa's The Book of Disquiet. In addition to breaking down the philosophy and literary style representing Vicente Guedes--Pessoa's heteronym for this section of the book--they swap favorite lines, invent a new Instagram idea for Chad, link up Pessoa with emo bands, and try and tackle the difficulty of reading this book sequentially versus dipping in and out. As always, you can find the video for this episode on our YouTube channel, where we livestream the episodes every Wednesday morning. Next week we'll be covering pages 47-94 (sections 40-81) with special guest Jerónimo Pizarro, the mastermind behind this particular edition of The Book of Disquiet. Feel free to comment on this episode—or on the book in general—either on this post, or at the official GoodReads Group. Follow Open Letter, Chad Post, and Brian Wood for more thoughts on Pessoa and literature in general, and for information about upcoming guests. You can also follow Tom Flynn, and you can buy as many books as you can carry from Volumes in Chicago. You can find all the Two Month Review posts by clicking here. And be sure to leave us a review on iTunes. It really helps people to discover the podcast. This season's opening music is "E Às Vezes Dou Por Mim" by contemporary fado star Cristina Branco. And, in keeping with the theme from last season, we'll be featuring a different emo rock song every episode for the outro music. Today it's Kaija Straumanis's favorite Dashboard Confessional song.

This is one of the most Two Month Review podcasts yet. Chad, Brian, and Tom Flynn (Volumes Books in Chicago) come together to discuss the first forty-six pages (sections 1-39) of the complete version of Fernando Pessoa's The Book of Disquiet. In addition to breaking down the philosophy and literary style representing Vicente Guedes--Pessoa's heteronym for this section of the book--they swap favorite lines, invent a new Instagram idea for Chad, link up Pessoa with emo bands, and try and tackle the difficulty of reading this book sequentially versus dipping in and out.  As always, you can find the video for this episode on our YouTube channel, where we livestream the episodes every Wednesday morning. Next week we'll be covering pages 47-94 (sections 40-81) with special guest Jerónimo Pizarro, the mastermind behind this particular edition of The Book of Disquiet. Feel free to comment on this episode—or on the book in general—either on this post, or at the official GoodReads Group. Follow Open Letter, Chad Post, and Brian Wood for more thoughts on Pessoa and literature in general, and for information about upcoming guests. You can also follow Tom Flynn, and you can buy as many books as you can carry from Volumes in Chicago. You can find all the Two Month Review posts by clicking here. And be sure to leave us a review on iTunes. It really helps people to discover the podcast. This season's opening music is "E Às Vezes Dou Por Mim" by contemporary fado star Cristina Branco. And, in keeping with the theme from last season, we'll be featuring a different emo rock song every episode for the outro music. Today it's Kaija Straumanis's favorite Dashboard Confessional song.

The Two Month Review is back! This season we'll be reading the New Directions publication of The Book of Disquiet by Fernando Pessoa, translated from the Portuguese by Margaret Jull Costa, one of the greatest works of literature (or poetry?) from the past century. To kick things off Declan Spring joined Brian Wood and a (happily hungover on baseball and beer) Chad W. Post to introduce Pessoa and his many heteronyms. They talk a lot about ND's Pessoa project, how they pitch uncategorizable books, how this edition differs from others, and much more. As always, you can find the video for this episode on our YouTube channel, where we livestream the episodes every Wednesday morning. Next week we'll be covering pages 1-40 (sections 1-39). Feel free to comment on this episode—or on the book in general—either on this post, or at the official GoodReads Group. Follow Open Letter, Chad Post, and Brian Wood for more thoughts on Pessoa and literature in general, and for information about upcoming guests. You can find all the Two Month Review posts by clicking here. And be sure to leave us a review on iTunes. It really helps people to discover the podcast. This season's music is "E Às Vezes Dou Por Mim" by contemporary fado star Cristina Branco.

The Two Month Review is back! This season we'll be reading the New Directions publication of The Book of Disquiet by Fernando Pessoa, translated from the Portuguese by Margaret Jull Costa, one of the greatest works of literature (or poetry?) from the past century. To kick things off Declan Spring joined Brian Wood and a (happily hungover on baseball and beer) Chad W. Post to introduce Pessoa and his many heteronyms. They talk a lot about ND's Pessoa project, how they pitch uncategorizable books, how this edition differs from others, and much more.  As always, you can find the video for this episode on our YouTube channel, where we livestream the episodes every Wednesday morning. Next week we'll be covering pages 1-40 (sections 1-39). Feel free to comment on this episode—or on the book in general—either on this post, or at the official GoodReads Group. Follow Open Letter, Chad Post, and Brian Wood for more thoughts on Pessoa and literature in general, and for information about upcoming guests. You can find all the Two Month Review posts by clicking here. And be sure to leave us a review on iTunes. It really helps people to discover the podcast. This season's music is "E Às Vezes Dou Por Mim" by contemporary fado star Cristina Branco.   

Nasceu em Moçambique. É autora, compositora e intérprete. Colaborou ao longo do seu percurso com diversos autores nacionais e internacionais. Musicou vários poemas da sua autoria e poemas de poetas como Fernando Pessoa ou Grabato Dias. Teve as suas primeiras experiências musicais ainda em Moçambique. O grupo Irmãs Muge, com a sua irmã Teresa, as influências moçambicanas das amas que tomavam conta de si e dos seus irmãos, ou as referências culturais trazidas pelo pai do norte de Portugal seriam determinantes. Já em Portugal começou por gravar com músicos como José Mário Branco, Júlio Pereira, Gaiteiros de Lisboa ou João Afonso. Ou mesmo com autores internacionais como Amancio Prada, Camerata Meiga, Lucilla Galiazzi, no colectivo Terras do Canto, Carlo Rizzo e Ricardo Tesi, entre outros. Mas, foi a solo, em 1991, com Múgica, que se destacou na introdução de uma ''gramática'' diferente no universo musical português. Os discos, os quais menciono neste introito, que editou demonstraram a diversidade das temáticas das canções que musicou, bem como um leque de desafios permanentes aos estilos interpretativos, no campo dos arranjos e no cruzamento de instrumentos musicais com características distintas de disco para disco. Estreou-se na dramaturgia com O Dono do Nada, uma peça pensada e escrita para crianças e adultos, que procurou instigar a capacidade de concentração das crianças, ao mesmo tempo que as alertava para a importância do som, do uso da palavra, dos poetas e do que está presente em ideias como «identidade» e «espaço sonoro». Escreveu canções para fadistas como Ana Moura, Mafalda Arnauth, Mísia, Cristina Branco ou Pedro Moutinho e participou activamente em temas musicais de Gaiteiros de Lisboa e Rui Júnior, mentor do projecto TocARufar, escrevendo letras para ambos. É tendo alguns destes trabalhos discográficos, e os espectáculos que coordenou ou dirigiu musicalmente com mulheres e/ou sobre mulheres (Afinidades no âmbito da Expo 98, no qual tocou com as Vozes Búlgaras do Pirin Folk Ensemble, ou o tributo a Joni Mitchell, que actuou em 2013 no auditório do Centro Cultural de Belém) como ponto de partida, que Amélia Muge conversa comigo neste episódio. Boas audições. [Convidada: Amélia Muge, Autoria,Texto e Edição: Soraia Simões de Andrade, Ilustração: João Pratas, Design de Som: António José Martins, Indicativo: Amélia Muge, Canções usadas «Taco a Taco», «Um início»]

Der Fado, die große portugiesische Wehmutsmusik, beglückt mit seiner Traurigkeit. Von ihm hat sich Cristina Branco ein ganzes Stück entfernt, aber in ihrer Musik liegen Glück und Melancholie immer noch ganz nah beieinander. Und das beflügelt die Poesie der Musik auf jeder Ebene.

Vandaag een heerlijk zomerse uitzending. Je hoort muziek van Cristina Branco, Marcos Valle, Giberto Gil, Huong Thanh, Pierre Barouh en The Divene Comedy.

Cristina Branco ― Branco, 2018. Três Bairros ― O turno da noite, 2017. Michel Giacometti ― Cancioneiro popular português, 1981. Joly Braga Santos ― Divertimento No. 1, 2004. Mal Morto ― Sonhos desfeitos, 2015.Edição nº 276, de 5 de abril de 2018  

A Cristina Branco lançou Branco, o último álbum dela, em Fevereiro. Falei com ela há umas semanas, numa conversa que se debruçou bastante sobre esse disco, que tem canções escritas por várias pessoas que já vieram (e voltarão) a este podcast, do Afonso Cabral ao Luís Severo, passando pelo Filipe Sambado, o Kalaf ou o […]

Edição de 20 Fevereiro 2018 - Cristina Branco - cantora

Podcast do Fórum Socialismo 2017 com intervenções de Diogo Varela Silva e Cristina Branco no painel “Tudo isto é fado”.  

Podcast Aragon os acerca otro episodio nuevo con los sonidos de Eliseo Parra, La Ronda de Motilleja, Ialma, Radio Cos, Sondeseu, Cristina Branco, Juan Jose Robles, Guadi Galego, Gwennyn, Almez Folk y Tündra. Presentamos el segundo disco de los riojanos Tündra.

Podcast Aragon os acerca otro episodio nuevo con los sonidos de Eliseo Parra, La Ronda de Motilleja, Ialma, Radio Cos, Sondeseu, Cristina Branco, Juan Jose Robles, Guadi Galego, Gwennyn, Almez Folk y Tündra. Presentamos el segundo disco de los riojanos Tündra.

Musica y Palabras, edición 642 Esta edicion escuchamos a Sigulka, Oreka Tx, Cristina Branco, Gwennyn, Capercaillie, Menil, Mara Aranda, Stormy Mondays, Red Beard y Korrontzi. Sonidos de Asturias, Euskadi, Madrid, Valencia, Canarias, Portugal, Francia y Escocia. Toda la información de las bandas y musicos en www.podcastaragon.es

Musica y Palabras, edición 642 Esta edicion escuchamos a Sigulka, Oreka Tx, Cristina Branco, Gwennyn, Capercaillie, Menil, Mara Aranda, Stormy Mondays, Red Beard y Korrontzi. Sonidos de Asturias, Euskadi, Madrid, Valencia, Canarias, Portugal, Francia y Escocia. Toda la información de las bandas y musicos en www.podcastaragon.es

Vanavond om 23:00 uur Stan Rijven met Radio Ritmundo. Thema van de uitzending is On Tour. Muziek van Youssou N’Dour, Orchestra Baobab, Oumou Sangare, Cristina Branco en Juan Luis Guerra.

El podcast de las músicas de aqui y de alla. Escucha el podcast en: Podcast Aragon - Musica Y Palabras http://www.podcastaragon.es/ Plataforma de Ivoox Con Brigada Bravo-Diaz (oh frenchy), Cristina Branco (alvorada), Philip MacConell (pirineo), David Aznar y Fernando Ariza (niña de plenas), Ignacio Alfaye (la sigoleta), Pinta de Irlandes (morrison's drowsy), Capercaille (the jura wedding reels), Kroke (free falling), Gwennyn (le graal), Los Expresos (sobre el cielo del moncayo), Francho Sarrablo (hijos de nabain), Mariano Casanova (domingo lluvioso) y Fernando Solanas (dia perfecto).

El podcast de las músicas de aqui y de alla. Escucha el podcast en: Podcast Aragon - Musica Y Palabras http://www.podcastaragon.es/ Plataforma de Ivoox Con Brigada Bravo-Diaz (oh frenchy), Cristina Branco (alvorada), Philip MacConell (pirineo), David Aznar y Fernando Ariza (niña de plenas), Ignacio Alfaye (la sigoleta), Pinta de Irlandes (morrison's drowsy), Capercaille (the jura wedding reels), Kroke (free falling), Gwennyn (le graal), Los Expresos (sobre el cielo del moncayo), Francho Sarrablo (hijos de nabain), Mariano Casanova (domingo lluvioso) y Fernando Solanas (dia perfecto).

El podcast de las músicas de aqui y de alla. Presentamos los discos de Cristina Branco y Capercaillie. Escucha el podcast en: Podcast Aragon - Musica Y Palabras http://www.podcastaragon.es/ Plataforma de Ivoox Con Gwennyn, Cristina Branco, Capercaillie, Menil, Bandada Marina y Maut.

El podcast de las músicas de aqui y de alla. Presentamos los discos de Cristina Branco y Capercaillie. Escucha el podcast en: Podcast Aragon - Musica Y Palabras http://www.podcastaragon.es/ Plataforma de Ivoox Con Gwennyn, Cristina Branco, Capercaillie, Menil, Bandada Marina y Maut.

www.lossonidosdelplanetaazul.com / Ibrahim Maalouf ha revisa la última década de su carrera a través de los conciertos que ha ofrecido en diferentes escenarios, desde París a Beirut. El polifacético artista franco-libanés ?compositor, arreglista, pianista, trompetista, profesor,…? es uno de los músicos más interesantes de la escena mediterránea y del jazz internacional, con trabajos propios extraordinarios como el dedicado a la venerada diva egipcia “Khaltoum” (2015) o el premiado “Illusions” (2013), además de una extensa lista de colaboraciones. Maalouf con su álbum, cd + dvd, ocupa el lugar destacado de las novedades que presentamos en esta edición junto a “Menina” el nuevo trabajo de la artista portuguesa Cristina Branco, “The Beautiful Day” del vocalista de jazz norteamericano Kurt Elling haciendo un repertorio de propio de la Navidad, y el disco colectivo “Jazz Loves Disney” con cantantes actuales del mundo del jazz recreando canciones de la B.S.O. de películas Disney.