Lucibela opened the evening after a purely instrumental first track, beautifully orchestrated by a total of seven musicians: two brass players, a cavaquinho, bass, guitar, drums, and the musical director at the piano. Usually, the solos come a little later in the evening, but this time we were treated to saxophone and trumpet solos right from the start of the concert.
In an average French, she addressed the crowd: “It’s a pleasure to be here. Cape Verde is known thanks to Césaria,” she adds, before moving on to Areia de salamanza, which she performed with unparalleled mastery. Her voice is the closest I can think of to Césaria Evora. With a few dance steps, she seemed to float in her orange dress.
The show was a mix of classics and lesser-known pieces by the barefoot diva. The star among the musicians that evening was undoubtedly the saxophonist. Even when he wasn’t playing, he stayed on stage to dance, unlike the trumpeter, who came and went. And when he played, he carried the audience with him, as the applause testified.
The classic Besamo Mucho was a particular highlight of Lucibela’s performance, as she got the audience singing along, before giving way to Ceuzany.
“I’m very happy to sing for you,” she says in shaky French. “Thank you Cesaria!” Like Lucibela, her first song was gentle, bringing out the depth of her voice, and after that, it was party time. In fact, she takes off her heels and starts dancing barefoot, a little nod to the diva?
After Sodade, which delighted the audience, she continued with Amor Y Mar, this time without the horns. The horns return for Ceuzany’s last song, in which she pushes her voice a little like American soul singers.
After a brief intermission, we’re off again with Teófilo Chantre, who wrote many of Césaria Evora’s songs. In impeccable French, he addresses the crowd between Fatalidade and Mãe Carinhosa.
He continued with Voz de Amor and then invited the crowd to dance, which they did timidly, but as the evening progressed, the audience loosened up. Indeed, they let loose completely when Elida Almeida, who was the last to perform, challenged the audience: “Is this how you dance at home?” she asked, addressing the crowd. “Well, you have another opportunity,” she added, and that’s all it took for the entire theater to get to its feet and show what it could do.
Paying homage to Cape Verde’s best-known musical style, the Morna, she transported the audience with her unique and distinctive voice. Each of the singers offered melancholy and festive tunes, sometimes switching from one to the other almost without transition.
As this was the last show of the tour, Elida brought the house down, getting the audience to sing along with Sodade, but this time with all the artists who joined her on stage, taking the time to thank all the musicians, before finishing with more classics.
The only snag of the evening: the song E Doce Morrer No Mar was missing. It’s true that this song is by Brazilian artist Dorival Caymmi, but Césaria popularized it all the same. I’d been waiting for it all evening and came home empty-handed. But that’s just a detail. I’ll continue to sing it in my shows, as I’ve been doing for the last 5 years.
Photo Credit: Adam Mlynello
