Post-Scriptum

It is unfortunate that such a gifted singer as Cristina Branco ends up compared to Amalia Rodrigues, or that her singing style is reduced to a category--fado. In fact, since the 80s, a number of new singers have appeared in Portugal who, while not repudiating the fado tradition, have done much to move it beyond the frozen state to which it had been reduced as Portugal's main official cultural export during the Salazar dictatorship. Unlike many fado singers, these younger artists are far better trained, sometimes abroad (listen to Carlos do Carmo, their predecessor, and in a sense spiritual father), and they have all incorporated a much more open sensibility. Listen to Camane, for instance, and you'll find the male equivalent of Cristina Branco: a voice so pure it hurts at times. The first song on this record is beautiful, but the last one is bound to make any Portuguese person cry. That tired cultural saw--saudade--is never mentioned, but the song is suffused with it, and absence lingers in one's mind and under one's skin long after the last note of the piano acompaniment has died out.

On every track of this CD, Cristina demonstrates complete and precise chromatic control of every possible note throughout her range of almost a full octave. Likewise, the production, style, and presentation is consistent throughout this CD; listen to any track, and you've heard what the rest of the CD is like. I admit I was seduced by a PBS puff piece about fado, featuring Cristina Branco, and I bought the CD expecting much more variety within the fado style, and also a broader range of performance from Ms Branco. If you want one, I'll sell mine cheap.

Even though I'm a jazz-schooled musician I'd never heard of fado until six months ago. Then on a trip to Lisbon last fall I stumbled into a music club in the Alfama district, Clube de Fado, where I heard an amazing fadista, Cuca Roseta. I was instantly attracted to the purity, heart and melodic richness of this historical Portuguese acoustic folk music. After returning to the states, I began a Spotify quest to learn all I could about Cuca, then Mariza, then Amalia Rodrigues, which eventually led me to Cristina Branco.I won't say that Cristina is best-of-breed in fado because they're all such amazing singers. But Cristina's more liberal delivery, which can be jazz-tinged in one song to Sondheim cabaret-ish the next, touched me in familiar musical places. That and Cristina's musicians are the best I've heard.I've turned a lot of people on to Cristina since. Ai Vida on Post Scriptum in particular grabs female listeners, one of whom described it as the sexiest song she's ever heard. I played some of Cristina's tracks for the owner of a Brooklyn wine bar and he said it was exactly the mood he was trying to set there. My personal mission is to bring Cristina and fado in general to an American audience. Maybe some day we'll have a Clube de Fado in NYC.

"Post-Scriptum" gives us an almost literary depth and passion to what might seem on the front-side a delicate collection of mere Portuguese ballads. I am glad to have found this CD.This is best listened to in summer-time, with open windows so that Branco's beautiful serenedical voice wafts out toward your neighbors. You might've heard on her on NPR, but the CD's crisp-clean freshness does what radio cannot do, and that is to bring the artist into your living room.Delightful, and yet there is a sobriety in her voice. Romantic -- she might be the woman you fell in love with years ago, and all you have now is her songs charming you in your head. Fans of Pablo Neruda's or Victor Hugo's love poetry might find "Post-Scriptum" a fine choice.My personal favorite is "Preludio." There is some which reminds me of Django Reinhardt in the guitar.I regret I know no Portuguese, and for those who do know the language, I expect the CD to be that much more valuable.I fully recommend "Post-Scriptum" by Cristina Branco.Anthony Trendl

Cristina Branco's earthy and emotional vocalization will transport you to another place far, far away and deep inside your own soul. Close your eyes; imagine yourself pedaling an old bike down the back streets of Lisbon on a hot afternoon; stretch out on the white beaches and connect with the heart of a woman whose language you don't speak, whose country you do not know. Indeed, Branco transcends language, culture and gender and touches you. She is not faint, delicate or obvious-- the music is poetic, romatic, emotional and inspired. You will enjoy Post-Scriptum, you will come back to Fado.

This is my first exposure to the beauty of Cristina Branco's art -- hopefully, it won't be my last. I've read that she has other cds available. This recording is exceptional, both in its clarity and the artists' performances. Cristina's voice soars or coos as necessary for expression -- even in the powerful passages, it's never harsh. The accompaniment is tasteful and masterfully played, and the arrangements are never over-done. Every song on this cd is a gem. Highly recommended, even to those who do not consider themselves afficianados of world music.

Perhaps I'm missing the point of music in the Fado style, but something really bugged me about this CD:Ms. Branco's amazingly beautiful singing was eclipsed by whatever the hell kind of jarring, discordant, horrible string instrument that was supposed to be accompanying her. I know the guy's supposed to be some kind of master of his particular Portuguese art (and my apolgizes for brusing any sensitive Iberian egos), but, dear god, what's the thing made out of--? It just struck me that she was completely overpowered by something that sounds so horrible. She has a wonderful talent, but the guitarist doesn't. I enjoy this CD, but next time, a capella, please.

One of my favorite performances. It actually made me cry.... and I don't speak Portugues.

Cristina Branco wollte ursprünglich keine Fadista werden. Sie singt jedoch Fado mit leidenschaftlichem Ausdruck und mit ihrer faszinierenden Stimme, die sie in jeder Lage perfekt beherrscht. Die instrumentelle Begleitung ihres Gesangs mit Saiteninstrumenten ist weniger folkloristisch denn eher virtuos. Eine empfehlenswerte CD!

very good