Cesária Évora
Best Of

THE REVIEW

The name of Cesária Evora has already appeared, a few days ago, on these pages for the first time, without, however, arousing particular attention. That's a shame, such a remarkable artist deserves all the best that can be bestowed upon her, she deserves to be talked about as much as possible. Cesária belongs to that select group of singers who have had the honor of being ambassadors of their homeland, their people, their culture, and have done so in the best possible way. Cape Verde, a handful of small islands in the Atlantic Ocean, just off the coast of Senegal, a land of fishermen, to which Portuguese colonialism has bequeathed a precious legacy: a musicality that, combined with local traditions, has given birth to two endemic genres, Morna and Coladeira. The first is more languid and melancholic, the second cheerful and relaxed, they are two sides of the same coin, the main instrument is the cavaquinho, essentially a variant of the classic acoustic guitar, accompanied by traditional percussion and wind instruments like clarinets and trumpets, or by violins and accordions. Simple structures but arranged with an almost unexpected elegance which, combined with a golden voice like that of Cesária Evora, create a set with a very recognizable personality and, above all, of immense charm.

The first CD of this rich and comprehensive double best of begins with a reinterpretation of the Latin evergreen "Besame Mucho", and it's already a blow to the heart. A striking expression that, however, doesn't quite capture the idea: Cesária doesn't strike the heart, she more likely burns it slowly, enchanting with her warm, rich timbre, which in its simplicity free of unnecessary frills conveys sublime elegance. For a piece like this, there is no better voice, a voice that can transmit all the passion, the intertwining of spirit and desire, the romantic spleen inherent in this melody. All typical characteristics of Morna, which are also found in "Sodade", bare and twilight, which in 1992 introduced her to the world, and "Petit Pays", "Cize", "Beijo Roubado", "Mar de Canal", "Voz d'Amor" and "Mar Azul"; "Miss Perfumado" and "Flor Di Nha Esperanca", which stand out for their elegantly refined orchestral accompaniments. In all these songs there is indeed melancholy, a touch of sadness, the colors of twilight, but also an inexhaustible vitality, a proud attachment to one's roots and a deep love for one's land, which in "Cabo Verde Terra Estimada" assumes an almost idyllic dimension, or more painful in "Sangue de Beirona" with its chanted counter-melodies.

Where there is vigor and lightness, there is never a lack of sobriety, grace, and a sense of balance that perfectly balances the whole and gives Cesária Evora's music its own distinctive dimension: "Carnaval De Sao Vicente", "Mas Un Sonho", "Badju Sabi" and "Fala pa Fala" are orchestrated and sparkling delights, but I think the highest peaks of charm are reached in the episodes where the acoustic framework is more evident, I think of "Tchintchirote", "Verde Cabo di Nhas Odjos" and especially the pair "Serpentina"-"Velocidade", placed immediately after "Besame Mucho": in these two songs you can fully grasp all the essence and beauty of Cesária's vocalism and musicality, which the rolling rhythms and sinuosity of these two melodies enhance in all their shapeshifting charisma. "Serpentina" has a sensually enigmatic character, "Velocidade" an almost playful nonchalance, both have a unique charm.

The music of Cesária Evora is good for the soul, and is a perfect example of the beauty and goodness that can exist in the world; trust me, listen to it, make it yours, internalize it. But not to please me, this is advice I give you because I care about you, my dear readers.