Best Fado in Porto

Contrary to the popular belief, Fado has existed in Oporto for decades, in fact there is a line of thought that defends Fado as a popular expression that may have derived from the popular musical expressions practiced at fairs, festivals, debulhadas or pilgrimages further north of Portugal: there are even harmonic similarities between songs such as chulas, viras or corridos, more characteristic and present in folklore and Fado.
Another interesting aspect of historical nature, is the significant number of guitar players present in the north of Portugal throughout history, having contributed greatly to the development of the Portuguese guitar as we know it today, as well as the Fado accompaniment guitar. Note that the oldest model of Portuguese guitar is the so-called Porto guitar, some say that this model makes the bridge between the English guitar and the most current guitar.

Adelino Duvall

The Alentejo José Moças, collector and responsible for the Tradisom label, guarantees to have in his possession the “first known fado recording”, made in November 1900 in Porto. “It is a 78-record record and is part of a set of more than 80 recordings of which 67 have been discovered to date,” he says. “I have four of those records, two of which are fado: the Fado Hilaryo, interpreted by Duarte Silva, and Oh Julia, by José Brito.” The record was made by William Sinkler Darby, a British sound engineer who passed through Porto in 1900. “The British connection to Porto was old, because of the wine, and maybe that explains why he went there. It was a trip to continental Europe to publicize the apparatus that made recordings, then the engineer went on to Madrid. He was working for Berliner, which later became EMI.”

Adelino Duvall

There are several Fado artists, poets and musicians from Oporto, like Tony de Matos, Beatriz da Conceição, Maria da Fé, Lenita Gentil, Florencia, Pedro Homem de Melo, António Torre da Guia or Fontes Rocha, are just a few examples that reflect the importance not only of Oporto but also of the rest of the country in the history of the national song that is Fado. Fado has always been listened in appropriate places, such as taverns, taverns, communities and of course the famous and traditional “Casas de Fado” where Fado is treated with all the rigor and ceremony, a true celebration.
Casas de Fado is admittedly the most appropriate place to watch a night of Fados the old-fashioned way. There are a series of rules that should not be broken in Fado: There is no amplification, silence is a determining factor, there are no performances during the performances, the lights are lowered and there is no circulating in the room, nor should you be interrupted. The performances alternate between the various artists, interspersed with moments in which the normal food service takes place. As D. Amalia used to say: Fado cannot be explained, it is felt … it is consensual that it is in the Fado houses where Fado is best felt and where it really happens. In the true Portuguese tradition, Fado has always been accompanied by wine and snacks by candlelight. It was the characteristic Fado from the Fado Houses that was elected intangible heritage of humanity. In 1968, history was made because D. Heitor Gil de Vilhena made a pact with Fado, thus appearing the cathedral of Fado in Oporto, the Casa da Mariquinhas.
Casa da Mariquinhas is located in the heart of the city, in the typical neighborhood of Sé, in front of the Santana Arch, immortalized by Garrett, and at the foot of the Sé Cathedral. With 52 years of history, this mythical place exudes Fado through the pores of its granite walls. Here passed and still pass all the great names of national Fado, without microphones, with the greatest intimacy and proximity to the public, making Casa da Mariquinhas the ideal place to enjoy the best Fado that is sung and played in Oporto, accompanied by the best traditional Portuguese cuisine by the hand of Chef. Sandra Santos and the best nectars of our Douro. For those who come to Porto a visit to this establishment recognized as of historical and cultural interest is a must.

Adelino Duvall

The city of Porto offers a variety of shows and experiences for those who appreciate Fado. Its houses, spread throughout the heart of the city, promise tourists and residents the best traditional Fado that is sung here.
Whether in the late afternoon with a traditional concert, during dinner with live shows or even during a Fado Vadio show, these places can hear the best Fado singers and guitarists of the city.

Fado should be heard in Silence
Being Fado an essentially auditory experience, its performances should be heard in silence. Noise created by people’s voices during performances can reduce the quality of the music and damage the intimate relationship that is created between Fadista and audience in most venues.
Also, background noise can confuse both the fadista and his guitarists who create the melodies. The noise can also disturb those who enjoy this type of show in silence.

Cell phone use
Although the use of cell phones is allowed during Fado shows, the audience should confirm that the devices are in silence. If you intend to take a picture or make a recording, make sure the flash is off.
The audience should be aware that continuous use of cell phones during a performance may be considered disrespectful to the fado singers, so use them sparingly.

Clapping
Unlike what happens during traditional Portuguese music concerts, in Fado shows it is not advisable that the audience accompany the Fadista with applause. This act can hinder when creating a relationship between the fadista and the public and confuse the artists who make the rhythm.
Thus, we advise the audience to clap only at the end of each song to show that they are enjoying the show.

Singing with the fadista
Unless the fadista asks the audience to accompany him during a song, this practice is inadvisable. This is because the sound of the audience’s singing can interfere with the Fadista’s interpretations.

Between the harmonious vibration of the Portuguese guitar and the charm of the voice of some of the great names of Fado, Casa da Mariquinhas opened its doors in 1968 to become the oldest Fado House in the region.
It was Heitor Gil de Vilhena, actor and fado singer, who thought about the smallest details that distinguish this space. Located in the heart of Porto, it currently belongs to the son of a Fado singer who used to perform here frequently.
The traditional Portuguese gastronomy, allied to the welcoming environment of the space, guarantees the complicity and the sharing of emotions between the Fado singers and the public. Among traditional songs, folklore and the typical marches in this House you can find the best Fado sung in Porto.

More than the history and mysteries associated with Fado, the height of this musical style is due to the voices and interpretations of those who recite it. It is the names of departed artists, allied to current artists, that bring excellence to this Portuguese style.
Among the mixture of emotions and memories provided in each musical moment, we present you some of the best known names in Portuguese Fado.

Amália Rodrigues
We have much to thank Amália Rodrigues, Queen of Fado. Between the years 1943 and 1990 she performed in five continents, the highlight being in the United States of America, where she participated in the NBC program Coke Time with Eddie Fisher in the year 1953. Already at this time she was the first Portuguese artist to appear on American television.
Besides music, Amália Rodrigues made her debut in several magazine plays and in cinema, with Fado always present. Even today you can still hear her interpretations, which serve as an example to many.
Her awards and splendor took her to the National Pantheon in Lisbon, where she lies since 2001. Among her best known songs is “Povo que lavas no Rio” a classic of Portuguese fado.

Carlos do Carmo
Another important name in Fado is Carlos do Carmo, son of Fado singer Lucília do Carmo, acclaimed since 1963, when he first interpreted Fado “Loucura” by Júlio de Sousa. Still in the beginning of his career, the fadista received several distinctions.
He made his debut outside Portugal in 1970 with concerts in Angola, the United States, and Canada. In 1976, he participated in the Eurovision Festival that took place in Holland. Here he interpreted the song “Uma Flor de Verde Pinho” by Manuel Alegre, which became part of the album “Uma Canção para a Europa”.

Augusto Hilário
Father of the acclaimed Fado Hilário, Augusto Hilário had contact with Fado when he arrived in Coimbra between 1889 and 1890 to study medicine.
Soon his interpretations became known throughout the country. In addition to interpreting poems of the authors of the time, he wrote several songs that became immortalized in the society. Although his time in Fado was short, his death was mourned by family, friends, admirers and acquaintances.

Mariza
After Amália Rodrigues, she is the best known name in Fado and Portuguese music internationally. Her first album, Fado em Mim, was released in 2001 by World Connection and reached 32 countries, making her the talk of the world. From it comes her interpretation of the song “Ó gente da Minha Terra”, written by Amália Rodrigues.
From then on, Mariza continued to grow and released her second album, Fado Curvo, where she interprets the song “Primavera”. This album reached 6th place on the Billboard World Music chart.
Since then she has released five more albums and has been present on some of the biggest and most important international stages having collaborated with big names in the music industry.

Camané
Carlos Manuel Moutinho Paiva dos Santos, better known as Camané, is one of the brightest names in Fado of this generation. He began his career as an amateur fado singer and at the age of 12 he won the annual “Grande Noite do Fado” event, where over the years names like Marina Mota, Anabela Pires, Raquel Tavares and Ricardo Ribeiro participated.
Participation in this event opened doors for her in the music business, including participation in several plays by Filipe La Féria. In 2000, he won a silver disc for the sale of 10 thousand copies of his 3rd album. The following year he won a second silver disc, just three weeks after releasing his 4th album. In turn, the fado singer’s 5th album received a gold record.
Camané’s career continues to cross borders, treading some of the most important international stages.

Alfredo Marceneiro
Alfredo Marceneiro marked his generation of Fado. He started singing around 1905, when he was only 13 years old, and quickly became known for his music and improvisations.
He participated in parties and cegadas until 1924, the year he performed at the São Luiz Theater and won a Silver Medal. He retired in 1963, in the same place that saw him win an award, but not for that he stopped singing.
From this time, remains his album “The Fabulous Marceneiro” considered by Blitz as one of the best Portuguese records ever.
On June 10, 1984, years after his death, he was awarded the Comenda da Ordem Infante D. Henrique by General Ramalho Eanes, until then President of the Republic.

Fado is a musical style that portrays the essence, the longing and the feelings of the Portuguese people. Its spontaneity takes us back to the 19th century, when its songs began to become popular in the streets of Lisbon. Since then, several songs and artists have immortalized themselves in time.
In this article, we highlight some of the classics of Portuguese Fado. These songs continue to be interpreted by amateur fado singers in fado houses from north to south of the country and by some of the most important names in Portuguese music.

1. Povo que Lavas no Rio, by Amália Rodrigues
“Povo que Lavas no Rio” is one of Amália Rodrigues’ best known songs. Written by the poet Pedro Homem de Mello and with music by Joaquim Campos it was first performed in 1964. After that it was sung by other names of Portuguese music, such as António Variações, Mariza and Dulce Pontes.

2.  Ó Gente da Minha Terra, by Mariza
Originally written by Amália Rodrigues, this poem would be interpreted by Mariza in 2001. Since then, the song has traveled the four corners of the world and been interpreted by various artists. It is one of the best known Portuguese songs nationally and internationally.

3. Grândola, Vila Morena, by Zeca Afonso
“Grândola, Vila Morena” is a song written and performed by Zeca Afonso in late 1971. It became known as the Hymn of the Revolution of April 25, 1974, the first step towards the Portuguese democratic regime. Later that year, Amália Rodrigues gave voice to this song, giving it her personal touch.

4. Lisboa Menina e Moça”, by Carlos do Carmo
“Lisboa Menina e Moça” is a song by Carlos do Carmo present in the album “Uma Canção para a Europa”, released in 1976. After the death of the fado singer in 2021, this song was consecrated the official music of the city of Lisbon.

5. Sei de um Rio, by Camané
It is from Camané’s fifth album, “Sempre de Mim”, released in 2008 that the song “Sei de um Rio” comes out. This song, one of the singer’s biggest hits, is a mixture of memories and nostalgia, inspired by a river.

The Portuguese Guitar is a string musical instrument, commonly linked to the history of Fado. Created during the late 18th century, little is known about the origin of this musical instrument, since there is not enough documentation to prove it. Made of wood and other noble materials, it is made of 12 strings, divided in pairs.
The Guitarra Portuguesa can be divided into three types – the Guitarra de Coimbra, the Guitarra de Lisboa and the Guitarra do Porto – differing mainly in the manufacturing practices. While the Guitarra de Lisboa is the smallest of the three, featuring a rounded case and snail-shaped head, the Guitarra da Coimbra is larger, sharper in shape, and has a teardrop-shaped inlaid head. The shape and construction of the Guitar from Porto is similar to that of Lisbon.
In the same way that Fado is made with the voice of its interpreter, the sound of the guitar is also made with those who play it. We leave some of the most known names in this environment.

Armando Augusto Salgado Freire
Better known as Armandinho, Armando Freire is considered one of the most important figures in the history of Fado. He was born in 1891 and at the age of 14 began his training in Portuguese Guitar. In the same year he performed for the first time at the Trinas Theater, where he began his career. During his life he participated in several compositions, artistic tours and interpretations, which eventually became classics.

Martinho d’Assunção
Martinho d’Assunção was born in 1914, in Lisbon. He studied music at an early age, and in 1927 he turned his attention to the Portuguese Guitar. Until then he had studied other instruments such as the viola, the mandolin and the violin. During his career he played in several national and international stages, alongside names such as Armandinho, Ercília Costa and João de Mata.

João de Mata
Guitarist and poet, João de Mata has played alongside names such as Armandinho and Martinho d’Assunção during his career. He was part of the Fado Artistic Group, with whom he toured Africa. Besides his career as a Guitarrist, he was the director of the Canção Nacional Newspaper between 1927 and 1928, and editor and writer of the Guitarra de Portugal newspaper until the year of his death.

Jaime Santos
Jaime Santos was born in 1909 into a humble family. At the age of 12 he already played the viola, violin and mandolin. Years later he learned to play the Portuguese guitar and started his career. Throughout his life he played alongside great names in Fado, including Georgino de Sousa (his father-in-law), Armandinho, Martinho d’Assunção and Amália Rodrigues.

Raul Nery
Raul Nery made his debut on the Portuguese Guitar when he was only 9 years old. He quickly became known in the music world and even accompanied Amália Rodrigues in several of her national and international tours. At the peak of his career he became an Engineering Technician Agent, a profession he would later pursue along with his music. He retired early from his career as a guitarist, but left his mark on hundreds of recordings by some of the most important names in Fado.

Declared as Intangible Heritage of Humanity by UNESCO, Fado became on November 27, 2011, the first Portuguese artistic expression to be recognized by this organizational institution.
The candidacy came about in June 2010, through an initiative of the Lisbon City Hall and the Fado Museum, to value this Portuguese musical style. It was approved a year later at the VI Intergovernmental Committee of the United Nations Educational, Scientific and Cultural Organization, which took place in Nusa Dua, on the Indonesian island of Bali.
This distinction praised fado as a tradition and expression of the country’s cultural identity, with names like Mariza and Carlos do Carmo as ambassadors.

Fado is a Portuguese popular song that distinguishes itself by its poetic sound and the feeling it conveys.
Its origin is surrounded by myths and mysteries, not knowing for sure how it came about. We only know that it appeared during the 19th century on the streets of Lisbon, in the historical and cultural context of the time.
The theories of its origin arise mainly from the experiences of the time and other factual aspects. For some, it came from the chants of the Muslim people who once lived in Portugal, for others it is inspired by the Lundum, a chant of the Brazilian slaves who arrived in Portugal through Portuguese sailors in the year 1820.
Soon these melodies and interpretations reached other cities through the students who went to the schools and universities they attended. Coimbra became an important center for Fado, keeping the tradition rooted in the student community.
Normally, Fado is sung by a Fadista and accompanied by a classical guitar and a Portuguese guitar. In recent years, Fado has been elevated to World Cultural and Intangible Heritage of Humanity by UNESCO.