Mariza has said, "You don't have to understand what I'm singing, because fado has the power to cross that frontier and make you feel emotions." She calls the result of listening to fado "...melancholic happiness, a magical melancholic feeling." And that aptly sums up the feelings that rise to the surface when listening to this musical art form, which is often called the Portuguese blues. First appearing around 1830 in the poorer areas of Lisbon, fado was banned by the fascist regime in the early 20th century, and then used by that regime for its own purposes. From the mid-1970s to 80s fado faded, before being resurrected by a new crop of singers.

Mariza has taken this heritage and embraced and expanded on it. Her earthy alto and the inherent heaviness of the music allow for a strange processing of the sounds. And they are powerful emotions indeed that arise upon listening to Mariza's live concert recording. Concerto em Lisboa. Her theatricality on the opening "Loucara," as played against the sweeping, mournful melody, brings a strange joy to the mix. Does it represent oppression, happiness, or lamentation? The gentle romanticism in the melody of "Ha Uma Musica Do Povo" could represent something lost, found, or rekindled. And while fado would not exist without strong lyrical importance, in the larger scheme of building sonic bridges, none of it truly matters. Just listen to the thunderous, thrilling audience ovation on the closing "O Gente Da Minha Terra" for an affirmation of fado's enormous appeal.

The singer and Jacques Morelenbaum's Portuguese guitar are the stars on this release, which also includes a very educational bonus DVD, Mariza and the Story of Fado. By virtue of her time and place, and of course her very natural talent, Mariza has become the standard bearer for a beautiful and unique genre that will continue to be introduced to eager listeners far and wide.

By Ellen Geisel