Drag queens Sara & Nina revamp samba-canção in an album that makes a delicious ode to the suffering of the 1950s

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The drag queen duo Sara & Nina, formed by Alessandro Brandão and Gabriel Sanches, releases the album ‘Minhas Mulheres Sades – A furious ode to samba-canção’ Beto Pego (Betina Polaroid) / Disclosure Cover of the album ‘Minhas Mulheres Sades – Uma furious ode to samba-canção’, by Sara & Nina Beto Pego (Betina Polaroid) / Disclosure Album review Title: My sad women – A furious ode to samba-canção Artists: Sara & Nina Edition: Independent edition of the artists Rating: ★ ★ ★ ★ ♪ Not everything was over between Alessandro Brandão and Gabriel Sanches when, in 2019, the artists from Brasilia became an ex-couple, breaking up the emotional union that began in 2007. A love that transcends carnal passion and the common attachment to samba-canção – a matrix genre of national suffering, amplified in the 1940s and 1950s in the voices of singers such as Dalva de Oliveira (1917 – 1972) and Maysa (1936 – 1977) – kept them united in life and on stage. Yes, on stage and in music, Gabriel becomes Sara. Alessandro is Nina. Like the drag queen duo Sara & Nina, Alessandro Brandão and Gabriel Sanches began performing in Rio de Janeiro (RJ) – the city where they both live – in 2016 with the repertoire that generated the duo’s first album, Céu de framboesa (2021 ), and the second, Minhas Mulheres Sades – A furious ode to samba-canção. Released on December 1st on players and also published on LP, the album features 12 sambas and two texts by Fernando Pessoa (1888 – 1935) – recited by Sara & Nina at the opening of each side of the LP – over 12 tracks . The ode to suffering is delicious. Without falling into modern territory, Sara & Nina give new meaning to musical beauties sunk in sadness with the intention of connecting this repertoire from the pre-bossa nova phase with the current reality of the LGBTQIAP+ community, still helpless by high doses of affective and social rejection, despite the advances. The arrangements by music producer Pedro Barbosa set gems such as Tudo finished (Oswaldo Martins and J. Piedade, 1950) and Errei, sim (Ataulfo ​​Alves, 1950) in a contemporary atmosphere, but preserve melodies and lyrics. Risque (Ary Barroso, 1953) reappears immersed in a rocker, indie, almost dirty atmosphere. My world fell (Maysa, 1958) is raised with energy and a touch of flamenco. Segredo (Herivelto Martins and Marino Pinto, 1947) has a disco music beat in the introduction of the medley arrangement that combines this samba-canção released by Dalva de Oliveira with another hit from the singer’s solo career, Que ser? (Marino Pinto and Mário Rossi), revamped by Sara & Nina with high notes that evoke the star Dalva, from whose repertoire the duo also reprocesses the bolero Fracassamos (Herivelto Martins, 1972) with echoes of soul from the 2000s. Vingança (Lupicínio Rodrigues , 1951) is located between the ska and rock of the group The Strokes. Another standard from the bitter songbook of composer Lupicínio Rodrigues (1914 – 1974), Nunca (1952) reappears more introspective, almost jazzy, as if the samba-canção were being sung and heard in the dark of a gay nightclub. It works. Because the name can change and the environment can change, but pit music crosses generations, unscathed, supported by immutable human emotions. And Sara & Nina – characters of actors with solid cultural background in the field of performing arts – sing real emotions. The band formed by Arthur Martau (drums and musical direction), Antonio Fischer-Bband (keyboards), Ian Moreira (percussion), Gabriel Quinto (guitar), Joana Saraiva (winds) and Paulo Emmery (bass) is responsible for working on these emotions with freshness, but, it is worth repeating, without changes that would take away the strength of this album fueled by eternal (re)feelings. One day, Sara & Nina’s world fell, but the drag queens learned to get up and, together, they stand tall in this seductive album Minhas Mulheres Sades – A furious ode to samba-canção.

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