Fernanda Porto
 
 
 
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  She toured Portugal and recorded her first DVD/CD at Tom Brasil, Fernanda Porto ao Vivo (Fernanda Porto Live), that includes eight old successes and eleven new works. She participated in the DVD Casa da Bossa (Bossa House), Homenagem à Tom Jobim (Tribute to Tom Jobim), singing the music Modinha. The CD Giramundo was launched in the United States with excellent reviews from critics.




 
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  She launched the CD of the sound track for the movie Cabra Cega by Toni Venturi, with the special participation of Chico Buarque, Toni Garrido, Ná Ozzetti and the members of the Living Colours band, Will Calwoun and Doug Wimbish. It received the award for best sound track at the Movie Festivals in Cuiabá, Maringá (2nd Film Festival) and Belém do Pará (2nd Festcine). She was invited to participate with the electronic trio of Daniela Mercury in Bahia. She participated in the DVD Um barzinho, um violão (A Small Bar, a Guitar) (Universal) interpreting Sentado à Beira do Caminho (Seated at the Side of the Road) (Roberto and Erasmo Carlos). The CD Giramundo was launched in Japan.




 
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  During the creation of the sound track of the movie Cabra Cega (Blind Goat), she met Buarque and recorded her electronic version of Roda Viva (Live Circle) with him. The music is also part of a video clip and immediately became successful on the radio. In December, her second CD, Giramundo (Circling the World) was launched. It has the name of one of the tracks (Giramundo, the music by Fernanda Porto and Lina de Albuquerque). The bass player and the percussionist of the American group Living Colours and the pianist and arranger Cesar Camargo Mariano took part in this CD. In June, she made her third European tour. The CD Giramundo received the Toshiba Cool Award as best national album by the magazine Cool Magazine. The CD Fernanda Porto was launched in Japan.




 
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  The music Tudo de Bom (Everything Good) (Fernanda Porto/Lina de Albuquerque) and Amor Errado (Mistaken Love) (Fernanda Porto/Edu Ruiz) became radio hits. The magazine Veja acclaimed Fernanda as the first composer whose electronic rhythms became popular on radio, in addition to having five hits on a première CD. In February, she went on her first European tour. In October, she went on a second tour to launch Fernanda Porto in England, Switzerland, Belgium, Italy, France, Spain, Holland, Germany, Austria and Portugal. She was nominated for a Latino Grammy in the Best New Artist category. She also competed for the Multishow Award in the Revelation category. The music videoclip Sambassim won the MTV VMB (Video Music Brazil) Award. Among the world music category records launched in Europe, Fernanda Porto won the fourth position for the WMCE (World Music Charts Europe) Award, selected by European critics and radio broadcasters. She was a special guest of Marina Lima, in the MTV Acoustic DVD, in which she sang together with the singer from Rio and made the music arrangement Charme do Mundo (Charm of the World). Fernanda Porto’s sales surpassed 120 thousand copies and became a double gold CD.




 
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  After several recording companies in Europe tried to contact her, she launched her first CD titled Fernanda Porto with the Trama label. She received the awards Noite Ilustrada (Illustrated Night) (best electronic CD) and Qualidade Brasil 2002 (2002 Brazil Quality) (best national CD).




 
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  She returned to London to launch the music Sambassim together with the DJ Patife. The music was chosen for the title track of the first Brazilian selection of drum and bass, Brasil EP, launched by V Recordings, the leading recording label of the genre. Together with the DJs Patife and Marky, she produced an electronic version for the music Só Tinha de Ser com Você (It Could Only be with You) that became part of the soap opera Um Anjo Que Caiu do Céu (An Angel that Fell from Heaven) of the Globo Network. As had already happened with Sambassim, her voice invaded the dance floors even before the first commercial CD was recorded.




 
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  She promoted the CD to several DJs, among them DJ Patife. Patife made a remix of the music Sambassim (Fernanda Porto/Alba Carvalho) that ended up by becoming a big hit on the London dance floors




 
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  She finished her first demonstration CD, a group of songs with electronic effects, most of them based on the drum and bass rhythm.




 
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  She traveled to London to research and become closely familiar with the drum and bass scene. Fat Boy Slim was the first one to notice the influence of this rhythm in her work among some of her major compositions.




 
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  She composed the sound track for the documentary O Velho - A História de Luiz Carlos Prestes (The Old Man – The Story of Luiz Carlos Prestes), a series of episodes for TV-GNT (Globosat). Part of the sound track was later included in the movie version. She met the DJ Xerxes de Oliveira (XRS LAND) and had her first contact with drum and bass rhythm.




 
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9 5
  She composed the sound track for the movie Ruído de Passos (Footstep Sounds) by Denise Gonçalves, based on a story by Clarice Lispector.




 
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  She composed the sound track for the movie Vítimas da Vitória (Victims of Victory) by Berenice Mendes, and won the award for best sound track at the Festival in Brasília.




 
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  She presented shows in which she mixed her own repertoire with Brazilian pop songs (Titãs, Cazuza, Rita Lee) and MPB (Brazilian Popular Music) (Chico Buarque, Caetano Veloso, Gilberto Gil). She participated in the MIDI Connection project at Sesc Consolação about composers involving computers in music. The participants included Mitar Subotic, nicknamed Suba, who became one of the pioneers in electronic music in Brazil. In the same year, she composed the sound track and sang in the movie 1999 by Toni Venturi. The original theme later became part of her first CD, Fernanda Porto (2002).




 
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  She composed the sound track for the movie Desterro (Banishment) by Eduardo Paredes and received the award for best sound track at the Movie Festival of Maranhão.




 
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  She gave her first series of shows in the São Paulo cultural circuit, performing at such night clubs as the extinct Madame Satã and Espaço Off, Centro Cultural São Paulo, Sesc Pompéia and Consolação. The shows were based on her own repertoire.




 
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8 8
  She was selected for the musical As Bacantes (The Bacchantes) by José Celso Martinez Corrêa. She gave singing lessons to the cast and composed the second operatic part of the work together with the director. However, she was unable to meet the demands of the rehearsal schedules, because she was also singing and playing piano at night in the Transamérica and Maksoud Plaza hotels in São Paulo. She therefore gave up the performance.




 
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8 5
  She made her first contact with language of video by composing the sound track for Tons, a script by Lina de Albuquerque based on a story by Edgard Allan Poe and presented at the Videobrasil Festival in São Paulo.




 
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8 4
  She organized the first band for popular music at college. At the same time, she continued with her lessons in classical voice. With her teacher Leila Farah, she learned to develop her potential for light soprano. She sang several operatic arias, such as Rigoletto by Verdi, Handel’s Messiah and Bachianas No. 5 by Villa Lobos. She was the only São Paulo singer to place in the Competition for Young Concert Performers in Rio de Janeiro (Cecília Meirelles Auditorium).




 
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8 3
  She was selected for the main role of the musical Amapola, by Reginaldo Faria, but she was strongly opposed by her family to take on the pace of the evening rehearsals and found herself out of the production.




 
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  She became a student for a Bachelor’s Degree in Piano at the Santa Marcelina Music School. However, she realized that her interest in classical piano was only partial and so changed to the course in Composition and Conducting. The teacher in harmony and director of the music course, Laura Abraão, decided to recommend her for the lessons by H.J. Koellreutter, whose assistant she was. The course was for the students of the fourth not first year, but Koellreutter made an exception for Fernanda. But before admitting her, the German maestro challenged her to compose a piece of music on one note alone and without a set measure. Thus she began an intense experimental process and a search for new language forms in contemporary music.




 
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  She became the keyboard player of two amateur bands. But after showing her compositions, they convinced her to also be the group’s singer. She gradually began to warm to the new role, which was difficult because she was extremely shy, even when playing an instrument.




 
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  In high school, at the age of fourteen, she learned that there was a music college, but the entrance test demanded qualification in some instrument. To finish the eight-year repertoire of the complete course in piano in just two years, Fernanda resorted to the help of her neighbor, the pianist Maria Cecília Truffi. From the very early mornings she studied music. She drew a keyboard with chalk on her desk at the Oswald de Andrade School, so that she could read scores during her regular school lessons.




 
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7 7
  She went to the first show in her life in São Paulo, at the Anhembi Gymnasium, with Elis Regina, João Bosco and Ivan Lins, at a performance organized by the radio station Jovem Pan. It was there that she made up her mind to become a pianist. The next concerts she attended were with her father to listen to Oscar Peterson, Ella Fitzgerald, Dave Brubeck, Astor Piazzola and Burt Bacarach. Brazilian musicians included Tom Jobim, Chico Buarque and Gal Costa.




 
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7 5
  In elementary school, she won a competition at a composition festival with a theme on Mary of Nazareth. She gave recorder lessons to her classmates during recess. At home, she used to hear her mother playing Chopin waltzes and also listened to the piano lessons of her older sister, Lucia Leão. She took part in a first little band, alternately playing the piano, guitar and transverse flute.




 
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7 3
  Her grandparents on her father’s side and her godparents, Margot and Cláudio, began to give her musical instruments. The first one was a xylophone, followed by a small accordion, a plastic saxophone, a guitar and small percussion instruments.




 
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  She took her first recorder lessons in the kindergarten of the Santa Marcelina School in São Paulo. Her curiosity about music became keener after she was selected by her teacher Nicole to represent her class in a recording.




 
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  Was born on December 31, 1965, in Serra Negra (SP), a city where her parents Lucia and Adalberto had a summer house. Born two months prematurely, Fernanda was brought to São Paulo, kept warm in a persimmon box and remained 28 days in an incubator.




 
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