About "Four Meditations on Natalia de Andrade."
When I first spoke with Carlos Pereira about the main theme of the film and the moments that would be its structure I realized that the dilemma between the narcissistic character and the artist was one of his earliest interests. It was, for this and many other reasons, the ideal creative partner.
The dissonant can-can theme that opens this film is the perfect ironic comment to the burlesque. Ironic because, in the film, is generated and associated with the cult but never with Natalia de Andrade. For the second theme I wanted the oneiric disenchanted and a certain bittersweet tone that consistently corresponded to the mixed feelings evoked by the film. The result exceeded any expectations! We are always between poetry and rawness between the sublime and sorrow, between guilt and redemption - in the film as in the music of Carlos Pereira.
It was the perfect collaboration!
João Gomes, Director
It can be said that in the origin of the documentary “Natália, a Diva Tragicómica” wasCarlos Pereira, who was the one who introduced me to the fascinating world of this character. There were rumors in the music circle that she had spent everything she had in her peculiar artistic career. This was the first clue and biographical echo from awoman who persevered despite an adverse milieu, which made ??me start to research as much as possible about Natalia Barbosa Andrade. Then it made sense that CarlosPereira, more than anyone, would be the author of the soundtrack that would bring up the spirit of the film and would enhance each of its stages of development, from Natalia’s unhappy childhood, the environment almost like a circus where she played thecourt jester, a world where she chose to live immersed in denial until the end of her life- all these nuances are heard in the documentary. The harmonious alliance between music, text and images makes visible what was obvious from the start. More thaninterviewee and author of the soundtrack, Carlos Pereira was also author and spiritual partner of this project.
Journalist of the Publico, author of “Natália, a Diva Tragicómica”
The four pieces are about issues that I consider relevant and which areaddressed in the documentary “Natália - A Diva Tragicómica” (Natalia -The tragicomic Diva) by director João Gomes.
The first piece “Ilusão" (Delusion) reflects the state of mind in which this singer apparently lived, believing to be admired as a singer with arare voice. It is an unpretentious piece smooth and calm, as is theillusion itself.
In “As Festas e as Homenagens” (The Parties and Tributes) is made a portrait of what I believe to have been the abusive exploitation of theweakness of this Lady. Also the human side of her innermost feelings,which we'll never know exactly what they were, facing the attitude of those who pretended to admire her.
“Uma Nota Sempre ao Lado” (A note always wrong) discusses how theF mode (mixolydian) can be seen as a deviation relatively to C mode (Dorian). All of us, musicians, know how F is identical to C, all notes are identical except one, and that changes everything. However the Fmode, despite being a deviation, is not considered a dissonance... is in fact beautiful and soothing. The question remains, to what extent is it appropriate to ridicule or even deny a deviation?
The last piece tries to represent what Natalia de Andrade wasconstantly trying to do: to sing Opera without being able to achieve perfection, deforming it. “Morte de um Cisne Transfigurado” (Death of a Transfigured Swan) is a piece that deforms the famous "Swan" from Carnival of the Animals by Camille Saint-Saëns. Only one or two notesare changed at key points of harmony or melody making it impossibleto hear and feel the beauty of the original. However the structure is kept unchanged, the "Swan" is still noticeable.
Notice your feelings when you hear or play these pieces and ask yourself about its origin and legitimacy, if you do so these pieces havelargely fulfilled their purpose.