The greatest interpreter of contemporary Fado

Mísia's tenth album is a return to traditional Fado, a more intimate and emotional production by the singer. It marks a return to a pure fado album after 10 years (Ritual 2001), and above all it marks 20 years of recording career (Mísia 1991).

The concept of this project is traditional music, with texts written exclusively by women - poets, writers (Agustina Bessa Luis, Helia Correia, Lidia Jorge, etc.), singers or fadists themselves, as in the case of Amália Rodrigues, Amélia Muge, or Mísia herself.

As in her Garra Dos Sentidos album, the music of the old traditional Fado will have, in addition to the guitar trio, the melodic lines of the accordion, piano and violin, the instruments that Mísia has introduced into her Fado since her first recordings and which make up her "sound".

For the first time in the history of Fado, here is an album in which the woman is not just the muse or the singer. She herself is the author and creates the poetic worlds for this genre. All the texts on this album are written especially for Mísia's voice, as is customary on all her albums, with the exception of some poems that have been chosen from the works of women writers who have passed away.

Fado incarnate: Mísia wanted to draw attention to the quality of the musical arrangements on this album, produced under the direction of Portuguese musician Carlos Azevedo. In 'Senhora da Noite', without denaturing traditional Fado, Carlos Azevedo opens the door to other musical universes, always respecting the emotional depth of the poem and with a rare good taste that shuns detailed trivialisation.