2005. Drama Box




Para Amália
- 2015 -
Delikatessen Café Concerto
- 2013 -
Senhora da Noite
- 2011 -

Ruas
- 2009 -
Drama Box
- 2005 -
Canto
- 2003 -

Ritual
- 2001 -
Paixões Diagonais
- 1999 -
Garras dos Sentidos
- 1998 -

Tanto Menos Tanto Mais
- 1995 -
Fado
- 1993 -
Mísia
- 1991 -

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Ute Lemper,
Singer


"When Mísia sings we are transported to an universe of theatrical passion and emotional deepness." [+]


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Drama Box (2005)

Album Information

Drama Box is made up of tangos, boleros, fados; of lyrics and songs from the south, blooming with nerves and red, sung here by Mísia. Like an athlete of the emotions, as Kleist said of great actors, Mísia, in Drama Box, takes us through the irresistible cycle of passion: "first you must learn to suffer, then to love, then to leave and last to live without thinking...

Love, like sadness, does not belong to a place or a time, and yet, in Drama Box, we are transported to a city, and it is night, and it is timeless. It may be Buenos Aires, or Lisbon, or Paris, or Barcelona, but it will have poets feverish with passion and possessed musicians. And, surely, in the middle of this city to which we are led by Mísia's voice, there is a rare spectacle that draws us in, the only edifice passion will allow: the well of death, a popular and risky form of entertainment. It is that, listening to Mísia singing as much in a Buenos Aires or a Portuguese style, we are attracted to the unique, irresistible and rapid descent into the well which, now inside each one of us, is a whirlwind of emotions, images, nostalgic longings, memories, gestures and ancient words; and, thus, to the dizzying velocity of these songs, we challenge the balance of our days, the comfort of certainties, and return to an animalistic state that is alternately desperate and languid. But after hearing Drama Box we know that there is no other dignified way out of despair and that only as lovers who go on beyond loss will we be worthy of life.

The importance of the image in Mísia's work is well known. It is a question of her unique posture of gratitude for those who listen to her and see her, to whom she offers herself on stage with the delicacy of an oriental gift. But long before this offering there are her voice and her way of singing, the reminder that awakens a physical pain in us and in all that surrounds us, and illuminates within our bodies lost or avoided feelings, thus returning us to life. These songs are part of a godless religion, made of urban rites, excessive and exuberant, of fleeting encounters on street corners, "when fireworks are kindled in us", of secrets and of a singular belonging. There's no need to be afraid to say it: it is in the excess of passion, as in the lack of measure brought on by loss, that the best part of us becomes either a god or nothing. Mísia sings and makes us feel all of her intensity, in the memory of a flower that was touched, a doorway that was passed through, of how the first embrace burned in our chest, the nostalgic longing for the first smile; and she sings this without recourse to cloudy words. With a purity of diction, a way of pressing syllables those that hurt more because they bring us more and delaying others, those that promised more love.

The truth is that there is no name more common for a woman than that of Maria, as in the tango "Yo Soy Maria", which means that this suffering of loss is universal, and yet each loved one feels that his or her loss is unique, the most excessive and unjust. And the greatness of this musical work, Drama Box, of its arrangements and lyrics, but mainly of Mísia's interpretations, is to make us feel unique both in the greatness of passion and in its loss. And this is rare and only possible with a great singer.

António Pinto Ribeiro

Note

Mísia conceived this album as a Pandora's Box. Originating from years of wandering and tumultuous love affairs, Drama Box is a preciously personal yet a temperate work. There is of course Fado, but the music is freed from clichés. Further more and for the first time, there are echoes from the world of Mísia's Spanish mother: timeless Boleros and Tangos. Mísia's songs reveal her as a determined but mischievous woman, faithful but free, sensitive yet reckless. Contributed to this album have also Fanny Ardant, Maria de Medeiros, Ute Lemper, Carmen Moura and Miranda Richardson.

Télérama FFF, France.


Tracklisting

Timing: 54'09

01. Ese Momento (4'03)
02. Te Extraño (4'11)
03. Fogo Preso (par Fanny Ardant) (1'19)
04. Fogo Preso (3'11)
05. Anjo Inútil (2'53)
06. Fado do Lugar-Comun (4'28)
07. E se a Morte me Despisse (2'29)
08. Gaivota Doente (3'33)
09. Se o Nosso Mundo Anoiteceu (2'34)
10. Cicatrizes (3'29)
11. Fado Adivinha II (2'53)
12. Coraçao Agulha (3'31)
13. Naranjo en Flor (3'35)
14. Los Marcados (3'50)
15. Yo soy Maria (4'13)
16. Fogo Preso (4'45)

Audio excerpts

Soundcloud: cliquez ici


Photos

More photos: click here



© Sophie Calle (No 1) & CB Aragão (No 2,3,4,5)



Videos

Video Clip "Ese Momento"