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Zizi Possi

Zizi Possi opened different pathways during her profession. She acquired her first strike with an MPB tune (“Pedaço de Mim” by Chico Buarque) and with some pop ballads through the ’80s; but finally within the ’90s, she discovered her way using a repertory of classics of Brazilian music in extremely refined acoustic renditions. You can find variations apply, such as Per Amore, that is completely specialized in Italian romantic music (sung in the initial idiom). Singing by itself since she was a kid, Possi began to consider piano classes at five. At 20, she empty the strong structure program on the Condition School of Bahia and began functioning as an celebrity within a musical when she uncovered herself being a vocalist. In 1978, she still left for Rio, where she was asked by Roberto Menescal to record (at that time he was Polygram’s A&R) her initial album (Flor perform Mal). Possi’ initial strike was the name track of the next record, Pedaço de Mim (Chico Buarque), from Buarque’s musical A Ópera perform Malandro, where she participated that same calendar year. Within the ’80s, Possi extended her pop repertory on the expenditures of MPB, having achievement with “Asa Morena” (Zé Caradípia, 1982). Various other hits of this decade had been “Perigo” (Nico Resende/Paulinho Lima, 1986), “A Paz” (Gilberto Gil/João Donato, 1987); “É A Vida Que Diz” (Marina), and “O Amor Vem Pra Cada Um” (a edition for “Appreciate Involves Everyone” by George Harrison). The LP Estrebucha Baby (1989) symbolized a different, nearly experimental phase, becoming the very first time that “Meu Erro” (Herbert Vianna) was documented not as rock and roll or pop (since it was created), but as a densely interpreted music, which worked well as an endorsement to get a genre that had been integrated into MPB under combined emotions. In 1990, the display Sobre Todas As Coisas (piano/tone of voice/percussion) displayed the locating of an interior coherence after acquiring different paths. Compensated by the achievement enjoyed through the tour, she approved Marcos Suzano’s recommendation of incorporating Lui Coimbra’s cello, documenting the recording Sobre Todas As Coisas (1991). The esthetics of the acoustic sound and the classics of Brazilian music had been paid even more tribute on Valsa Brasileira (1993) and on her behalf following albums. Valsa Brasileira got two strikes, “Bom Dia” (Swami Jr./ Paulo Freire) and “Lamento” (Pixinguinha).

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