.........
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 newalbum Silêncio misleading? No, it actually suggests a playful engagement withthe concept of silence. The decision to record her second studio album cameat a time when the Italian singer, now based in Vienna, was searching foranswers to personal questions through moments of silence. Apart from that,silence is a recurring theme in the lyrics of Brazilian composer and musicianEdu Lobo, one of the most influential figures in the history of the MúsicaPopular Brasileira (MPB). Federica Ferrari’s album Silêncio centers around 12selected works by the legendary 81-year-old co-founder of the MPB. The ideato arrange and produce an album featuring fresh interpretations of Lobo'ssongs took shape quickly. On her acclaimed 2020 debut album A JóiaEscondida, Ferrari had already honored the great masters of the MPB withvibrant interpretations of pieces by Milton Nascimento, Baden Powell andAntonio Carlos Jobim among others. It was during this time that her deepadmiration for Edu Lobo truly began to grow. His music, from a structuralstandpoint, is more challenging and complex, featuring refined harmoniesthat are carefully crafted to complement the melodies. These melodies floweffortlessly, 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-newsound from Rio de Janeiro Sugarloaf Mountain around the world. However, the composer quickly developedhis 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 hergratitude for his wonderful music could not be fulfilled due to production-related reasons. Nonetheless, herintent 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 programfeaturing Edu Lobo’s music for the first time live, caught the Brazilian composer’s attention, prompting himto reach out. Afterward, Ferrari sent him the completed album files of Silêncio, allowing him to listen to thetribute she had crafted in his honor. It wasn’t easy for her to take the step of releasing her interpretationsof his songs and presenting them to him for „review," as she recalls. In fact, she and her excellentlyassembled 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 whenLobo sent a warm 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 hissocial 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 alignwith the natural rhythm of the language, which perfectly complements the unique beat of the music. Theopenness of the South American's music, much like in Jazz, creates space for a broader interpretationand exploration of the stories within the songs. As a result, the narratives in Lobo’s songs mirroredaspects of the interpreter’s personal life stories. Ferrari’s Silêncio captivates not only those familiar withPortuguese. Her richly sown vocal harmonies, filled with great emotional intensity, communicatemeaning even without understanding the words. Deeply felt melancholy and masterfully conveyed joyfulcrescendos create gripping tension in Silêncio. The listener is encouraged to empathize, as the musicalaxis between Lobo and Ferrari is filled with compassion and shared humanity. "Angú de caroço" opensSilêncio 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, anddanceable 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 ofhope to shine through.
Against the „Museum Piece“
The arrangements Ferrari and her six-member band present, honorthe spirit of contemporary Brazilian music. In South America, whereeverything is constantly pulsing towards change, the classic BossaNova is now seen as an outdated museum piece. While Ferrari’s musicis subtly carried by Bossa and Jazz, it continuously breaks in alldirections to find new points of connection. Hardly anyone wouldinitially associate the harmonica or vibraphone with Brazilian music.However, in Federica Ferrari’s immense understanding of sound, bothof these instruments wonderfully and sensitively complement theessence of the Música Popular Brasileira. Ferrari’s band consists ofEuropean and South American musicians, and their respectivebackgrounds are reflected in the interpretation of Lobo’s songs.European musical culture, which famously meets its Africancounterpart in Brazil, is fused on Silêncio with the liberating spirit ofJazz. The result is something new and unique, which is best describedas Federica Ferrari’s style. In Silêncio, stillness flirts with physicalityand vitality..
