Ney Matogrosso

小簡介
Ney在青少年時(shí)就展示出了藝術(shù)天分，擅長唱歌、繪畫及表演。他的演唱才華，尤其是聲音的與眾不同使他在一些小型的演出場(chǎng)合得到人們的贊賞。他喜歡戲劇，夢(mèng)想有朝一日成為演員。
1966年，Ney辭去在巴西利亞某部隊(duì)醫(yī)院實(shí)驗(yàn)室的工作，到里約熱內(nèi)盧尋夢(mèng)。找演員的工作并不容易，孤僻任性的Ney在那里過了好幾年嬉皮士的生活，以靠貶賣工藝品為生。直到1971年在圣保羅結(jié)識(shí)Sergio Ricardo，后者準(zhǔn)備成立一支“干濕閃電樂隊(duì)”(grupo relampago Secos ＆ Molhados)，正到處物色有戲劇細(xì)胞并且嗓音尖細(xì)的演藝人才。Ney歪打正著就這樣成了這支樂隊(duì)的成員。這支樂隊(duì)盡管只存在了一年半?yún)s發(fā)行了兩張唱片，銷售達(dá)150萬張，是巴西搖滾音樂歷史上絢麗的一景。
1974年樂隊(duì)因內(nèi)部糾紛解散。這之后，也有一定名氣的Ney開始單飛。在76年77年間，他發(fā)行了3張個(gè)人專輯，分別是Bandido, Pecado和Feitico，其中Fetico碟中的“Bandolero”獲得巨大成功。Ney藝術(shù)的黃金時(shí)代開始了。從70年代末到80年代，Ney在巴西全國、南美諸國、歐洲、美國、以色列等地巡回演唱。值得一提的是，Ney的挑戰(zhàn)世俗，另類百變的舞臺(tái)造型在70年代那個(gè)相對(duì)保守的時(shí)代遭致眾多的批評(píng)，甚至文化審查機(jī)關(guān)也禁止他的公開演出。然而不可否認(rèn)的是，他與眾不同的藝術(shù)風(fēng)格也是他成功的重要元素。
除了眾多的歌唱表演，Ney還主演了不少音樂劇與電影。在1983年，Ney得到了兩張鉑金唱片獎(jiǎng)及一張金唱片獎(jiǎng)。1986年，在一項(xiàng)名為Luz do solo的演出中，Ney平生第一次沒有化妝及著奇裝異服就登臺(tái)，并宣布今后將以音樂為事業(yè)主打方向。
by Alvaro NederAn uncommon artist with an uncommon sopranino voice, Ney Matogrosso fell in the Brazilian popular music scene like a bomb in the 70s aboard the Secos e Molhados. The end of the group marked the beginning of a fertile and successful solo career in which he began exploring his sensuous and charismatic persona through satiric and ironic repertories. As time passed, he substituted self-contained and deeply sensitive interpretations of classics for the popular and classical Brazilian music. Along with his representative and prolific solo discography, for which he received three platinum and three gold records, Matogrosso recorded in Itália with Astor Piazzola, performed in Argentina, Uruguay, participated in two Montreux Jazz Festivals (Switzerland), and toured Portugal several times. He also performed in Israel and the U.S., but always refused invitations to develop an international career. Matogrosso also worked as an actor in Sonho de Valsa (by Ana Carolina, the director, not the singer/composer) and Caramujo Flor (short subject by Joel Pizzini), and directed shows by RPM, Cazuza, and Simone. Arriving in Rio de Janeiro in 1966, Matogrosso became a hippie leather artisan and divided his time between Rio, S?o Paulo, and Brasília, where he was a close friend of singer/composer Luli. Through her he met Jo?o Ricardo, who had a vision for a groundbreaking group and was searching for a high-pitched male voice. Invited by Ricardo, Matogrosso moved to S?o Paulo where he spent one year dedicating himself to exhaustive rehearsals, artisanship, and theater plays. With the explosive success of Secos e Molhados and the groups final dissolution, Matogrosso started his solo career exploring his unusual voice timbre, his mesmerizing scenic persona, and his androgynous visuals, enhanced by innovative and exotic costumes. A second solo album, água do Céu/Pássaro, was supported by the show Homem de Neanderthal, in 1975, with which Matogrosso opened in Rio de Janeiro, drawing both raves and packed houses. Barco Negro and Homem com H appeared amongst considerable polemics aroused by the usual conservatives on duty. In that period, he worked with Astor Piazzola in Milan, Italy, where he recorded a double single with the Argentinean composer. A cleaner Matogrosso recorded Bandido in 1976, having his first national hit as a solo artist with Bandido Corazón, written especially for him by Rita Lee. While Matogrosso wanted to challenge prejudices and preconceptions with his satiric, ironic, and sensuous performances and choices of repertory, he also wanted to be regarded as a serious and sensitive interpreter. He tried to gain this respect with his memorable renditions of songs by complex composers like Chico Buarque: Deixa a Menina, Tanto Amar, Até o Fim, and the album Um Brasileiro (1996). But he also wanted to be regarded as an evolving and open-minded artist associating himself to the nascent Brazilian rock of the 80s, recording Por que a Gente é assim?, Pro dia nascer Feliz, Fogo e Risco, and T?o Perto. In 1986, with the show A Luz do Solo,Matogrosso abandoned all fantasies and focused exclusively on his mature singing, passionately revisiting classics of Brazilian popular music like Dora, Nem Eu, Retrato em Branco e Preto, último Desejo, Três Apitos, Da Cor do Pecado, No Rancho Fundo, Modinha, Autonomia, and Na Baixa do Sapateiro. Accompanied by the best Brazilian musicians since beginning as a solo artist, he surpassed all expectations with the show Pescador de Pérolas (1987), in which he had Raphael Rabello, Arthur Moreira Lima, Paulo Moura, and Chacal both in the live performances and on the album. In 1992, he also had splendid accompaniment, this time by the group Aquarela Carioca, in his show and album As Aparências Enganam (released the next year), where he performed El Manisero. In 1997, Matogrosso recorded Cair da Tarde, an ambitious project devoted to the works of Tom Jobim and Heitor Villa-Lobos. Having proven his point earlier in life, Matogrosso has dedicated himself to his deep renditions of the classics of Brazilian popular music. This spirit dominates Batuque (2001), in which he focuses on sambas, choros, and Carnival marchinhas of the 30s and 40s.