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In Stillness lies the Power of Vital Music
For singer, interpreter, and producer Federica Ferrari, „Silêncio“ (Silence)
serves as a powerful means of self-connection.
Silence opens up vast spaces, where it can sometimes become surprisingly
loud.
So, is the title of her new album Silêncio misleading?
No, it actually suggests a playful engagement with the concept of silence.
The decision to record her second studio album came at a time when the
Italian singer, now based in Vienna, was searching for answers to personal
questions through moments of silence.
Apart from that, silence is a recurring theme in the lyrics of Brazilian
composer and musician Edu Lobo, one of the most influential figures in the
history of the Música Popular Brasileira (MPB).
Federica Ferrari’s album Silêncio centers around 12 selected works by the
legendary 81-year-old co-founder of the MPB.
The idea to arrange and produce an album featuring fresh interpretations of
Lobo's songs took shape quickly.
On her acclaimed 2020 debut album A Jóia Escondida, Ferrari had already
honored the great masters of the MPB with vibrant interpretations of pieces
by Milton Nascimento, Baden Powell and Antonio Carlos Jobim among
others.
It was during this time that her deep admiration for Edu Lobo truly began to
grow.
His music, from a structural standpoint, is more challenging and complex,
featuring refined harmonies that are carefully crafted to complement the
melodies.
These melodies flow effortlessly, as if created in one seamless stroke.
A Tribute to the 80th Birthday
Edu Lobo's songs first gained attention in the early 1960s, when Bossa Nova began to establish its then-new sound from Rio de Janeiro Sugarloaf Mountain around the world.
However, the composer quickly developed his own distinctive sound by
incorporating traditional Brazilian styles such as Frevo, Choro and Baião. Federica Ferrari’s desire to congratulate Lobo on his 80th birthday last year with Silêncio and express her gratitude for his wonderful music could not be fulfilled due to production-related reasons.
Nonetheless, her intent eventually reached the musical poet from Rio de
Janeiro several months after his milestone birthday.
An Instagram post announcing one of Ferrari’s concerts, where she was set to
present the new program featuring Edu Lobo’s music for the first time live,
caught the Brazilian composer’s attention, prompting him to reach out.
Afterward, Ferrari sent him the completed album files of Silêncio, allowing
him to listen to the tribute she had crafted in his honor.
It wasn’t easy for her to take the step of releasing her interpretations of his
songs and presenting them to him for „review," as she recalls.
In fact, she and her excellently assembled band had not recorded one-to-
one renditions of his works but rather created free interpretations — infused
with great devotion and respect.
There was a great sigh of relief on this side of the Atlantic when Lobo sent a
war m message expressing his enthusiasm for Ferrari's creative
reinterpretations of his music.
Even more: he has since demonstrated his interest in the progress of Silêncio
among other things through his social media channels.
What an honor! What a recognition!
Content and Reflection = Grandeur
On Silêncio, Federica Ferrari sings Lobo's songs in Brazilian Portuguese.
It was her desire in order to align with the natural rhythm of the language,
which perfectly complements the unique beat of the music.
The openness of the South American's music, much like in Jazz, creates
space for a broader interpretation and exploration of the stories within the
songs.
As a result, the narratives in Lobo’s songs mirrored aspects of the
interpreter’s personal life stories.
Ferrari’s Silêncio captivates not only those familiar with Portuguese.
Her richly sown vocal harmonies, filled with great emotional intensity,
communicate meaning even without understanding the words.
Deeply felt melancholy and masterfully conveyed joyful crescendos create
gripping tension in Silêncio.
The listener is encouraged to empathize, as the musical axis between Lobo
and Ferrari is filled with compassion and shared humanity.
"Angú de caroço" opens Silêncio with a „bang“, immediately showcasing a
band rich in vibrant soundscapes.
In this case, the "bang" is a vibraphone, which harmonizes with the drums,
moving forward with a captivating, lively, and danceable spirit.
"Canção do amanhecer" (The Song of Dawn), on the other hand, deals with
farewells, out of which longing arises.
In this comparatively slower piece, Ferrari and her band allow glimmers of
hope to shine through.
Against the „Museum Piece“
The arrangements Ferrari and her six-member band present, honor the spirit of contemporary Brazilian music. In South America, where everything is constantly pulsing towards change, the classic Bossa Nova is now seen as an outdated museum piece.
While Ferrari’s music is subtly carried by Bossa and Jazz, it continuously breaks in all directions to find new points of connection.
Hardly anyone would initially associate the harmonica or vibraphone with
Brazilian music.
However, in Federica Ferrari’s immense understanding of sound, both of
these instruments wonderfully and sensitively complement the essence of
the Música Popular Brasileira.
Ferrari’s band consists of European and South American musicians, and their
respective backgrounds are reflected in the interpretation of Lobo’s songs.
European musical culture, which famously meets its African counterpart in
Brazil, is fused on Silêncio with the liberating spirit of Jazz.
The result is something new and unique, which is best described as Federica
Ferrari’s style.
In Silêncio, stillness flirts with physicality and vitality.
