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NÁ OZZETTI & ZÉ MIGUEL WISNIK - CIRCUS produções culturais
CIRCUS produções culturais
CIRCUS produções culturais
55 11 2528 4732


It’s been exactly 30 years, when Ná first sang one of Zé’s compositions. He got married on Yemanja’s day and the ceremony began with the sound of "Louvar" song that closes this album. Shortly after, Zé composed the poignant 'Tudo Vezes Dois" for the show “Princesa Encantada”, a performance that brought together Ná Ozzetti and Suzana Salles, two voices identified with the Brazilian musical movements of the 80’s. Soon after, Ná launches her debut solo album with no less than four Zé Miguel Wisnik’s songs, including the beautiful "A Olhos Nus" and "Orfeu" which, fortunately, are reborn in this album.

There is a peculiarity in the repertoire we hear here. With the exception of the last mentioned songs and two most recent, the others are almost a chest of secrets. They are pearls from the end of the last century which gradually respond to a sort of lyrical and emotional challenge: how to translate poetry in lyrics, making them vibrate here and now and for all, the passion that remained silent in the mind and heart of the poet and of his readers? Wisnik does that with his melodic power. He always finds the ideal curve to say words and phrases accustomed to introspection. He turns into lyrics - and therefore sensitive songs - the poems of Fernando Pessoa (“Sim, Sei Bem”), Oswald de Andrade (“Noturno no Mangue”), Cacaso (“Louvar”) and Paulo Leminski (“Gardênias e Hortênsias”). And the experience continues in the creations side by side with poets such as Leminski (“Subir Mais” and “Sinais de Haikais”) and other contemporary poets, as Alice Ruiz (“Sinal de Batom”), Marina Wisnik (“Miragem”) and Paulo Neves (“Alegre Cigarra”, “Som e Fúria” e “A Noite”). By the way, it is from this last thought that Wisnik likes to recall: "Poetry is a call, music is a flame." Coming from Paulo Neves, I believe that music is the generic term to say song.

Beside the affirmative character of the compositions gathered here, the option for "yes" in a world full of uncertainty, there is a conductor melodic thread of sweet sadness from track to track, that needs a sober singing that serves this pain without falling into pure melancholy. That’s what Ná Ozzetti, our greatest singer, makes, with her distinctive vocal signature and the usual care. We can understand, then, why so many meaningful songs have not found space in previous albums. Simple, Zé expected Ná to the definitive recording of his, now, new pearls.

By Luiz Tatit


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