"A Margem" closes one of the most sensitive and intelectual triptic

Adriana Calcanhatto approaches "A margem" without letting the listener take his breath and prepare with this bossa doing with modern sound effects of Rafael Rocha, and to the surprising melody. 

Arrived late in Sao Paulo, I learned that this album that sees the singer swimming, or drowning in the middle of can and trash would be a combination of new creations, and of titles not included on Maritmo (1998) and Maré (2008) , the two components of this maritime truce. A water soiled by man, eternal guilty of natural damage that Calcanhotto denounces. But I do not want to dwell on the texts, however important they may be, for already, Os Ilhéus (Wisnik/ Cicero) and Dessa vez reveal classical beauties, and I am tired of talking about the intellectual artist, but not the one that transmits emotions to the always splendid shockwaves. A splendour that reinforces the song Tua, given to Bethania, sung with a tone at the limit of sensitivity, which equals the superb interpretation of the Bahianese. We find a song surprisingly left out composed by Pericles Cavalcanti, Marés- o principe das marés. Era pra ser, another song given in Bethania in 2016, is said to be enhanced by the crystalline sound of Portuguese guitars. The surprise that reaches me more, beyond everything (and is it due to the differences of epochs of the songs), it is the melodies that sound like classics of the best Robero Carlos and the inevitable modernity that dresses Ogunté, and scansion, like a rap of a new kind (which might well give ideas to Fernanda Abreu), without the homogeneity of the disc being reached. Only Adriana was capable of such daring, imposing herself without modesty. 

So I stay or I leave. Or I settle in Coimbra among the black buildings of the students. The trilogy will remain engraved among the most touching works of the singer. Touching and, yes, okay, an intelligence that belongs only to her