Singers are on the edge of correction when they revive northeastern hits on the album ‘Forró do mundo’

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Assucena, Céu, Gabi da Pele Preta, Gaby Amarantos, Juliana Linhares, Luedji Luna, Mariana Aydar and Rachel Reis address songs projected in the voices of Elba Ramalho, Marinês, Clara Nunes and Maria Bethânia. Cover of the album ‘Forró do mundo’, designed by Pupillo with Marcelo Soares Artwork by Ricardo Magrão Album review Title: Forró do mundo Artists: Assucena, Céu, Gabi da Pele Preta, Gaby Amarantos, Juliana Linhares, Luedji Luna, Mariana Aydar and Rachel Reis Edition: Musak Music Rating: ★ ★ 1/2 ♪ Three years after Orquestra Frevo do Mundo (2020), an album created by Pupillo and Marcelo Soares to try to give a contemporary touch to the revelry genre of Pernambuco, the same duo presents Forró do mundo , a collective album along the same lines, released today, June 15, with a cover created by Ricardo Magrão. With musical production by Pupillo and under artistic direction by Soares, eight singers from the Brazilian contemporary scene – Assucena, Céu, Gabi da Pele Preta, Gaby Amarantos, Juliana Linhares, Luedji Luna, Mariana Aydar and Rachel Reis – give voice to Northeastern music hits encamped under the generic forró label, with more current beats, to try to revitalize a genre currently guided by banal beats and lyrics. The question is that the interpreters are on the limit of correction with recordings that lose in comparison with the original recordings of the songs. Juliana Linhares, for example, is a potent singer, but she was unable to impress on Não Salomão Mais (Chico Buarque, 1979) the feverish tone requested by the song and achieved by Elba Ramalho in the rascante recording of the album Ave de Prata (1979). Assucena sings more passionately than the approach of the xote Sou o estopim (Antonio Barros, 1976), released by Marinês (1935 – 2007) in the same year in which it was recorded by actress Sônia Braga for the album with the soundtrack of telenovela Saramandaia (Globo, 1976). On the other hand, Luedji Luna’s singing sounds velvety in Gostoso muito (Dominguinhos e Nando Cordel, 1986) in an interpretation that is closer to the lapidary recording by Maria Bethânia on the December album (1986) than to the original forrozeiro recording by Dominguinhos (1941 – 2013). From the same Dominguinhos, but in partnership with Anastácia, Quero um xamego (1975) could have gained more dengo in the singing of Rachel Reis – in a recording punctuated by Waldonys’ accordion – in the same way that Mariana Aydar could have added more vitality to Você endoideceu meu meu heart (Nando Cordel, 1986), success of Fagner. Céu also manages to animate forró by shaping Maçã do faces (1976), the only song with a Northeastern feel on Djavan’s first album, focused on samba (Elba re-recorded the song well on the 2020 disc). Even though she strains her voice in certain passages of Feira de mangaio (Sivuca and Glória Gadelha, 1977), a track arranged with brass orchestrated by trombonist Nilsinho Amarante, Gaby Amarantos manages to at least sound upbeat when facing this song projected throughout Brazil in the recording made by Clara Nunes (1942 – 1983) for the album Esperança (1979). At the end of the record, A third blade (Zé Ramalho, 1981) reappears with the recurring correction on the record, but without the proper density, in the voice of Gabi da Pele Preta. Anyway, the world’s Forró album lacks energy. The disc can even cheer up those who don’t know the most emblematic records of the eight songs. For those who heard these compositions in voices like those of Elba Ramalho, Marinês, Maria Bethânia and Clara Nunes, it is difficult to get into the dance. The forró was warm.

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