SALMASO USES HER
VOICE FOR THE CLASSICS
By J. Jota de Moraes –
Jornal da Tarde – São Paulo, Brazil 11/21/1999
Voadeira, Monica Salmaso’s new record, places the young singer
at the top as interpreter of Brazilian popular songs.
This CD which she recorded for the Eldorado recording company –
as winner in the Vocal category of the second Visa MPB (Brazilian Popular
Music) award of the competition held in the first semester of this year
– gives continuity to her work, which can only be classified as
Mônica Salmaso has a very personal voice. Its timbre, perfectly
homogeneous from low to high tones, has the fluent and rounded colors
of an instrument, both coherent and flexible, at the same time. Her voice
sounds natural, as if it were a privileged extension of her speaking voice,
of breathing itself.
And being sweet and penetrating at the same time, it is an involving voice
because of its unique, unmistakable coloring.
With her clear throat, but far from any kind of exaggeration, Mônica
Salmasso emits sounds adverse to any type of imprecision.
And she places this moldable material at the service of a particularly
sharp musical sensibility. Thus, there is never shouting or blustering.
With a bright intelligence, she seems to prefer being convincing through
a song sometimes practically murmured, that reaches deep down into the
attentive listener’s heart, as if it were a kind of blessing, or
A new musical outlook
Mônica Salmaso radically appropriates the songs she interprets.
She recreates what she sings effectively, giving each song a new life,
a different twist.
As her repertoire is distant from the usual sameness, it ends by supplying
an unexpected and fresh outlook of songs, this very Brazilian art.
In Voadeira, the singer dares to tackle some very well known pieces that
are already part of the traditional repertoire.
Getting rid of the dust deposited in them through habit, she transforms
them into new information. These include the famous Ave Maria no Morro
(Herivelto Martins), Minha Palhoça (J. Cascata), Ilu-Ayê
(Cabana/Norival Reis) and Valsinha (Vinícius de Moraes/Chico Buarque).
Mônica rescues this delicious A Violeira (Tom Jobim/Chico Buarque)
from being forgotten and suggests surprisingly different versions of O
Vento (Dorival Caymmi) and of Cara de Índio (Djavan).
And she surrounds these “classics” with new and/or unheard
of pieces, such as Dançapé (Mario Gil/Rodolfo Stroeter),
Canto em Qualquer Canto (Ná Ozzetti/Itamar Assumpção)
and Beradêro (Chico César).
Marcílio Godoi’s beautiful graphic design, the participation
of excellent musicians and Rodolfo Stroeter’s imaginative production
turn Voadeira into a more than special project.