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Marisa Monte
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Key Information
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Marisa de Azevedo Monte (Brazilian Portuguese: [maˈɾizɐ dʒ(i) azeˈvedu ˈmõtʃi]; born 1 July 1967) is a Brazilian singer, composer, instrumentalist, and record producer of Brazilian popular music and samba. As of 2011, she had sold 10 million albums worldwide[1] and has won numerous national and international awards, including four Latin Grammys, eight Brazilian Music Awards, seven Brazilian MTV Video Music Awards, nine Multishow de Música Brasileira awards, and 5 APCAs. Marisa is considered by Rolling Stone Brasil to be the second greatest singer, behind only Elis Regina. She also has two albums (MM and Verde, Anil, Amarelo, Cor-de-Rosa e Carvão) on the list of the 100 best albums of Brazilian music.
Biography
[edit]Monte was born in Rio de Janeiro, daughter of the engineer Carlos Saboia Monte and Sylvia Marques de Azevedo Monte. On her father's side, she is descended from the Saboias, one of the oldest Italian families in Brazil. She studied singing, piano, and drums as a child, and began studying opera singing at 14.[2]
At the age of 19, Monte went to Italy to study bel canto, while also performing Brazilian music in bars and clubs, leading her to meet famous producer Nelson Motta. Upon her return to Rio in 1987, Motta produced her live concert,[2] where Monte became a hybrid of MPB diva and pop rock performer. While most of her music is in the style of modern MPB, she has also recorded traditional samba and folk tunes, largely in collaboration with such musicians and songwriters as Carlinhos Brown, Arnaldo Antunes, and Nando Reis and producer Arto Lindsay. She has also collaborated with the New York pop music vanguard, including Laurie Anderson, David Byrne, Marc Ribot, Bernie Worrell and Philip Glass.[3]
Career
[edit]In 1988, Monte signed with EMI and took the opportunity of Rede Manchete wanting a TV special covering her live concert to release it as the LP and VHS MM in 1989, a critical and commercial success pushed by the single "Bem Que Se Quis", a Motta-penned Portuguese version of Pino Daniele's "E Po' Che Fa'".[2]
Monte owns the rights to all of her songs; it was her chief demand for renewing her contract with EMI Music.[4]
Her 2008 single "Não é Proibido" was used in the soundtrack of a video game by EA Sports, 2010 FIFA World Cup South Africa.[5]
Discography
[edit]
| Album title | Album details | Peak chart positions | ||||
|---|---|---|---|---|---|---|
| BRA | FRA | ITA | POR | SUI | ||
| Mais |
|
1 | — | — | — | — |
| Verde, Anil, Amarelo, Cor-de-Rosa e Carvão |
|
1 | — | — | — | — |
| Barulhinho Bom |
|
1 | — | — | — | — |
| Memórias, Crônicas, e Declaracões de Amor |
|
1 | — | — | — | — |
| Tribalistas (with Carlinhos Brown and Arnaldo Antunes) |
|
1 | 39 | 2 | 1 | 90 |
| Infinito Particular |
|
1 | — | — | 7 | — |
| Universo ao Meu Redor |
|
2 | 161 | — | 9 | — |
| O Que Você Quer Saber de Verdade |
|
2 | — | — | 8 | — |
| Tribalistas (with Carlinhos Brown and Arnaldo Antunes) |
|
1 | 67 | 30 | 2 | — |
| Portas |
|
1 | 20 | 32 | 6 | — |
Live albums
[edit]| Album title | Album details | Peak chart positions | |
|---|---|---|---|
| BRA | POR | ||
| MM |
|
1 | — |
| Verdade Uma Ilusão |
|
1 | 18 |
Compilation albums
[edit]| Album title | Album details | Peak chart positions | |
|---|---|---|---|
| BRA | POR | ||
| Coleção |
|
1 | 10 |
Video albums
[edit]| Album title | Album details | Peak chart positions | |
|---|---|---|---|
| BRA | POR | ||
| MM ao Vivo |
|
1 | — |
| Mais |
|
1 | — |
| Barulhinho Bom - Uma Viagem Musical |
|
1 | — |
| Memórias, Crônicas, e Declarações de Amor |
|
1 | — |
| Tribalistas (with Carlinhos Brown and Arnaldo Antunes) |
|
1 | 29 |
| Infinito ao Meu Redor |
|
1 | — |
| Verdade, Uma Ilusão |
|
2 | — |
References
[edit]- ^ Felitti, Chico (30 October 2011). "Silencinho Bom". Serafina/Folha de S.Paulo (in Portuguese). p. 56. Retrieved 22 January 2018.
- ^ a b c Beirão, Nirlando (October 1994). "Entrevista: Marisa Monte". Playboy. Editora Abril. Archived from the original on 1 June 2023. Retrieved 11 September 2023.
- ^ Rohter, Larry (14 November 2006). "Marisa Monte - Music - Report". The New York Times. ISSN 0362-4331. Retrieved 2 January 2020.
- ^ Musitec Archived 15 May 2011 at the Wayback Machine
- ^ Arts, Electronic (6 April 2010). "EA's 2010 FIFA World Cup South Africa Music Soundtrack Sets The Stage For Football Glory". Electronic Arts Inc. Retrieved 1 July 2021.
External links
[edit]
Marisa Monte
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Early life
Family and upbringing
Marisa de Azevedo Monte was born on July 1, 1967, in Rio de Janeiro, Brazil.[1][10] She hails from an Italian-Brazilian heritage on her father's side, descending from the Saboia family, one of the oldest Italian lineages in Brazil.[11] Her parents were Carlos Saboia Monte, an economist, engineer, and cultural director at the Portela samba school, and Sylvia Marques de Azevedo Monte.[1][12] The family belonged to Rio's upper-middle class, providing an environment rich in artistic exposure through her father's involvement in samba and his habit of playing diverse records at home.[11][12] Monte grew up in the upscale Urca neighborhood in Rio's South Zone, a vibrant area known for its coastal beauty and proximity to cultural hubs like the Portela samba school.[12] Her childhood was immersed in Brazilian musical traditions, with family gatherings featuring samba rhythms and Música Popular Brasileira (MPB), fostering an early appreciation for these genres through her parents' encouragement.[1][10] She has two sisters, Letícia (born 1966) and Lívia, along with a half-sister, Carol Monte, in a family dynamic that emphasized creativity, education, and artistic pursuits.[12]Education and early influences
Marisa Monte attended the National Music School in Rio de Janeiro during the 1980s, where she began formal studies in lyric singing at the age of 14 after passing the entrance exam with aspirations to become an opera singer.[1][12] Her early musical education also included piano, drums & percussion, and music theory, fostering a strong technical foundation amid the vibrant post-bossa nova scene of Rio.[13] At age 18 in 1985, Monte self-financed a move to Rome, Italy, to pursue advanced bel canto training, studying there for approximately one year under the inspiration of opera diva Maria Callas.[1][13][12] Upon returning to Brazil in 1986, she applied the classical techniques to refine her vocal control, shifting her focus toward Brazilian popular music (MPB) while retaining the precision of operatic phrasing.[1][12] Monte's early musical influences were shaped by her family's immersion in Rio's samba culture—her father, Carlos Monte, served as a director of the Portela samba school—and exposure to MPB through radio, records, and live events.[1][13][12] She drew inspiration from Brazilian vocalists such as João Gilberto, Caetano Veloso, Nara Leão, and Maria Bethânia, alongside American jazz icons like Billie Holiday, Ella Fitzgerald, and Sarah Vaughan, blending these with the rhythmic traditions of samba artists.[13][12] Her initial performances began as a teenager around age 15–16, singing popular music informally with friends at local Rio clubs and events, though she declined a recording contract offer at 16 to prioritize her studies abroad.[12] These amateur experiences, including vocal explorations in casual settings, honed her stage presence before her formal return to Brazil.[12]Musical career
Beginnings and debut (1987–1990)
Upon returning to Rio de Janeiro in 1987 after studying opera in Italy, Marisa Monte reconnected with producer Nelson Motta, whom she had met during her time abroad in Venice, and he took on the role of directing her initial professional performances.[14] Motta, a prominent figure in Brazilian music as a journalist, songwriter, and producer, guided her transition into the local scene by helping curate an eclectic repertoire that drew from her classical background while embracing popular styles.[1] This collaboration marked her formal entry into the industry, as her debut show, Veludo Azul, premiered at Jazzmania in September 1987, where she quickly garnered attention for her versatile voice and innovative interpretations, selling out shows and appealing to diverse audiences from rock enthusiasts to MPB traditionalists.[14] Monte signed with EMI later that year, paving the way for her recording debut.[15] In late 1988, she performed a live concert at Teatro Villa-Lobos, which was recorded as a TV special for Rede Manchete, providing the material for her first album, MM (also known as Marisa Monte Ao Vivo), released in January 1989 and produced by Motta.[14] The album featured a dynamic mix of genres including samba, jazz, blues, soul, bossa nova, and rock, with standout tracks such as the hit single "Bem Que Se Quis"—a Portuguese adaptation of Pino Daniele's song co-written by Motta—and other highlights like "Comida" and "Chocolate," showcasing her ability to blend international influences with Brazilian roots.[14] Critically acclaimed for offering a fresh perspective on MPB through her sophisticated arrangements and vocal range, MM sold over 500,000 copies in Brazil, establishing Monte as a rising star.[15][1] Following the album's release, Monte embarked on national tours and early live appearances, including sold-out seasons in Rio de Janeiro and São Paulo, which solidified her presence on the Brazilian stage.[14] These performances highlighted her emerging style, often incorporating theatrical elements and a broad song selection that bridged her bel canto training with contemporary pop sensibilities, though she navigated initial challenges in adapting her operatic technique to the demands of live pop and MPB settings.[1] By 1990, this debut phase had transitioned her from a promising student to a professional performer with growing radio play and audience demand.[14]Rise to prominence (1991–1999)
Following the success of her debut, Marisa Monte achieved her commercial breakthrough with the release of her second studio album, Mais, in 1991. Recorded in New York and Rio de Janeiro with producer Arto Lindsay, the album featured co-writings by Monte, Arnaldo Antunes, and Nando Reis, blending Música Popular Brasileira (MPB) with sophisticated pop and subtle electronic touches. Standout tracks included "Beija Eu" and "Ainda Lembro" (featuring Ed Motta), which became radio hits and showcased Monte's versatile vocal range. The album sold over 500,000 copies in Brazil, earning a 2x Platinum certification from the Associação Brasileira dos Produtores de Discos (ABPD), surpassing her debut's sales and establishing her as a major artist in the domestic market.[16][1] Mais propelled Monte into extensive national tours across Brazil, where she performed to large audiences, and frequent television appearances that amplified her visibility. She became a regular on popular programs like TV Globo's Fantástico, delivering live performances that highlighted her interpretive skills and helped popularize MPB to broader audiences during the early 1990s. These outings, combined with the album's chart success—peaking in the top positions on Brazilian sales rankings—cemented her role as a leading voice in contemporary Brazilian music, bridging traditional samba influences with modern production.[1][17] In 1994, Monte released her third album, Verde, Anil, Amarelo, Cor de Rosa e Carvão (internationally titled Rose and Charcoal), which explored more experimental territory while maintaining commercial appeal. Co-produced by Monte and recorded in New York and Rio, it incorporated collaborations with Antunes, Nando Reis, and Carlinhos Brown on tracks like "Maria de Verdade" and "Segue o Seco," infusing Brazilian rock elements, percussion-driven rhythms, and poetic lyrics about love and nature. The album's innovative sound—mixing acoustic guitars with subtle rock edges—earned praise for pushing MPB boundaries, and it achieved strong chart performance, selling 750,000 copies and receiving 3x Platinum certification in Brazil. An extensive tour followed, including live recordings that captured the album's energetic vibe.[16][1] Monte's 1996 double album Barulhinho Bom (released in the US as A Great Noise in 1997) further demonstrated her artistic evolution, focusing on acoustic arrangements and a mix of studio and live tracks. The project included seven new studio songs, three co-written with Brown, alongside live performances from her tour, emphasizing stripped-down instrumentation, folkloric influences, and mature vocal delivery on themes of introspection and cultural roots. Critically acclaimed for its depth and innovation—particularly the acoustic reinterpretations that highlighted Monte's growth as an interpreter—it sold 250,000 copies and earned Platinum status. Accompanied by a full-length video release, the album reinforced her domestic stardom through sold-out national tours and sustained TV exposure, positioning her as MPB's preeminent figure by the decade's end.[16][1]Collaborations and international work (2000–2009)
In the early 2000s, Marisa Monte expanded her artistic reach through high-profile collaborations that bridged Brazilian traditions with global influences. One of the decade's landmark projects was the supergroup Tribalistas, formed with percussionist Carlinhos Brown and former Titãs frontman Arnaldo Antunes. Recorded in April 2002 at Monte's Rio de Janeiro home studio, the self-titled debut album featured intimate, acoustic-driven songs blending MPB, samba, and folk elements, with Monte serving as producer. Released worldwide that year, it became a massive commercial success, selling over 3.5 million copies globally and topping charts in Brazil without any television promotion. Standout tracks like "Velha Infância" and "Já Sei Namorar" captured widespread appeal, earning a Latin Grammy nomination for Best Brazilian Contemporary Pop Album in 2003.[18][19] Monte's international partnerships during this period further elevated her profile beyond Brazil. She duetted with Laurie Anderson on "Enquanto Isso," a spoken-word-infused track included on her 2000 album Memórias, Crônicas e Declarações de Amor, which explored themes of time and perception through experimental soundscapes. In 2006, Monte collaborated with David Byrne on contributions to her album Universo ao Meu Redor, where the former Talking Heads frontman provided backing vocals and co-production on tracks like "A Transa," merging samba rhythms with indie rock sensibilities. Additionally, composer Philip Glass arranged strings and horns for both Universo ao Meu Redor and its companion release Infinito Particular that year, marking over a decade of their ongoing creative dialogue that infused Monte's work with minimalist classical textures. These efforts led to notable appearances, including performances at U.S. venues like New York's Carnegie Hall and European festivals such as Portugal's WOMAD in 2001.[3][1] Monte's 2006 solo album Infinito Particular, released internationally via Metro Blue/Blue Note Records, showcased her evolving sound by reworking older compositions with contemporary production techniques, including electronic beats layered over samba foundations. Tracks like the title song and "Vilarejo" highlighted this fusion, creating ethereal, introspective atmospheres that appealed to global audiences and charted successfully in Europe, particularly in Portugal, Italy, and France. The album's innovative approach, co-produced by Monte with Alê Siqueira, underscored her role in modernizing Brazilian pop for international markets.[20][1][21] Toward the end of the decade, Monte contributed to multimedia projects with broader reach. In 2008, she recorded "Não é Proibido," an upbeat track blending samba and reggae, for the soundtrack of EA Sports' 2010 FIFA World Cup South Africa video game, enhancing her visibility in gaming and sports culture. This period also saw Monte undertake extensive tours, including her first U.S. dates since 2000—a four-city run in November 2006 promoting her new albums—and subsequent European legs in cities like London, Paris, and Lisbon, where sold-out shows drew diverse crowds and solidified her international acclaim.[22][23]Later career and recent projects (2010–present)
In the early 2010s, Marisa Monte released O Que Você Quer Saber de Verdade in 2011, her first studio album in five years, which explored themes of freedom, introspection, and emotional release through a blend of MPB and experimental sounds, featuring intricate string arrangements on tracks like the title song co-written with Carlinhos Brown and Arnaldo Antunes. The album, accompanied by a documentary film of the same name directed by Monte herself, marked a period of personal reflection amid her evolving artistry.[24] Following a hiatus from solo work, Monte reunited with Tribalistas—her supergroup with Arnaldo Antunes and Carlinhos Brown—for their second self-titled album in 2017, a digital-only release that emphasized simplicity and human connection through acoustic arrangements and harmonious vocals.[25] The project achieved rapid success, amassing over 50,000 initial downloads in Brazil within days of launch and breaking Spotify records for MPB streams with singles like "Diaspora" and "Aliança," building on the group's earlier acclaim without physical promotion.[26] A subsequent tour in 2018-2019 extended its reach internationally, including sold-out shows in Europe and North America. Monte's 2021 album Portas, her first solo studio effort in a decade, was a collaborative endeavor recorded remotely across continents during the COVID-19 pandemic, featuring contributions from multi-instrumentalist Dadi on bass and keyboards, accordionist Bebe Kramer, and pianist João Donato on select tracks, infusing bossa nova, samba, and pop with themes of positivity, love, and resilience.[27] Described by Monte as "poetic and loving resistance," the record's upbeat tone, as in the title track co-written with Antunes and Dadi, offered solace amid global isolation, with production spanning late 2020 sessions under strict health protocols.[28] In 2023, a live recording from the Portas tour, Portas (Ao Vivo), was released, capturing performances from shows in Rio de Janeiro and earning a 2024 Latin Grammy nomination for Best MPB Album.[29][30] The pandemic significantly disrupted Monte's live performances from 2020 to 2022, leading her to pivot to virtual formats; she launched the Cinephonia project in June 2020, a series of online sessions from her home studio reinterpreting rare tracks and rarities with visual elements inspired by cinema, streamed to fans worldwide via YouTube and social media.[31] Additional virtual appearances, including tributes and collaborative livestreams, sustained her connection with audiences during lockdowns, before live tours resumed. Post-pandemic, Monte embarked on extensive touring, including a 2023 North American leg of her Portas tour with dates in cities like Los Angeles at Walt Disney Concert Hall and Berkeley at The UC Theatre, showcasing her band's dynamic interpretations of career-spanning material to enthusiastic crowds.[32] In 2024, she expanded to Europe with performances in Hamburg at the Elbphilharmonie on October 22 and Amsterdam at the Concertgebouw on November 7, delivering intimate sets blending samba rhythms and orchestral flourishes.[33][34] Currently, as of November 2025, Monte is in the midst of her Turnê PHONICA with a full symphony orchestra of over 55 musicians, featuring reimagined arrangements of her catalog; the tour kicked off in late 2024 with a preview at the Festival Navegante and continues through 2025 with major Brazilian dates in Rio de Janeiro, São Paulo, and Porto Alegre, emphasizing symphonic depth and emotional grandeur.[35] This ambitious project coincides with the release of her 2024 single "Sua Onda," a breezy collaboration produced by Gustavo Santaolalla, evoking waves of joy and renewal, signaling ongoing creative momentum.[36]Musical style and artistry
Genres and vocal technique
Marisa Monte's music is primarily rooted in Música Popular Brasileira (MPB), a genre that encompasses a broad spectrum of Brazilian popular styles, while incorporating elements of samba and pop rock.[37] Her work often fuses these foundations with jazz, funk, R&B, and traditional Brazilian rhythms, creating a fluid sound that defies strict categorization.[1] This eclecticism allows her to blend contemporary pop sensibilities with samba's rhythmic vitality and MPB's melodic introspection, as seen in her explorations of bossa nova-inflected arrangements and tropicalia-inspired experimentation.[13] Monte's vocal technique draws from her classical training in bel canto, which emphasizes clarity, precision, and expressive phrasing, enabling her to navigate a wide range with technical assurance.[38] This foundation contributes to her versatile delivery, characterized by smooth breath control that sustains long phrases during live performances and an evolution from more operatic projection to intimate, emotive styling suited to MPB's nuanced demands.[39] Her alto voice[40] is often described as exquisite and caressing, balancing softness with powerful resonance to convey emotional depth without strain.[1] In terms of production, Monte's early recordings feature minimalist arrangements that highlight sparse instrumentation and acoustic textures, allowing her vocals and subtle rhythms to take center stage.[41] Over time, her approach has expanded to include richer, orchestral elements, particularly evident in the PHONICA tour—ongoing as of 2025—where she performs with a 55-piece orchestra to reimagine her catalog in symphonic settings, as showcased in recent live releases like "A Paz (Ao Vivo)".[42][40] Monte's lyrics frequently explore themes of love, personal identity, and subtle social commentary, weaving emotional introspection with broader reflections on human connections and societal nuances through poetic, understated language.[13]Songwriting and themes
Marisa Monte has established herself as a prolific co-writer in Brazilian popular music, contributing lyrics and melodies to the majority of her original tracks across her discography. She frequently collaborates with esteemed songwriters such as Nando Reis and Carlinhos Brown, with whom she has co-authored numerous songs, including standout compositions like "Na Estrada" and contributions to her collaborative projects. These partnerships often blend Monte's introspective style with her collaborators' rhythmic and poetic sensibilities, allowing her to maintain artistic control while exploring diverse sonic landscapes.[1][43] Her lyrics recurrently delve into romantic introspection, capturing the nuances of love, longing, and emotional vulnerability, as seen in personal reflections on albums like Infinito Particular. Monte also expresses Brazilian cultural pride through celebrations of samba heritage and national identity, integrating elements of everyday life and folklore into her work. Additionally, she addresses social issues, particularly in collaborative efforts such as the Tribalistas project with Arnaldo Antunes and Carlinhos Brown, where songs like those on Tribalistas II lament global crises including displacement and inequality, reflecting a commitment to broader human concerns. Environmental themes appear more subtly, often intertwined with social advocacy in her later outputs.[1][13][44] Monte's songwriting draws from key influences, including the emotional depth of Elis Regina's interpretive power and Caetano Veloso's innovative fusion of tradition and modernity. She incorporates poetic lyricism, adapting bossa nova's elegance into contemporary contexts to enrich her narratives. Over time, her approach has evolved from the intimate, personal storytelling of her 1990s albums—focusing on individual experiences and relationships—to more collaborative and activist-oriented work in the 2010s, where group dynamics amplify themes of societal change and resilience.[13][1]Personal life
Relationships and family
Marisa Monte has maintained a notably private personal life, rarely discussing her relationships or family in public forums. She was previously married to musician Pedro Bernardes from 2003 to 2007, with whom she shares a son, Mano Wladimir Monte Bernardes, born in 2003.[45][46] Since 2008, Monte has been married to businessman Diogo Pires Gonçalves, with whom she has a daughter, Helena Monte, born in 2009.[45] The couple's relationship has been characterized by discretion, with public appearances together being infrequent, such as at events in Rio de Janeiro. Monte has emphasized balancing her demanding career with family responsibilities, taking extended breaks from recording and touring to focus on motherhood after the births of both children in the 2000s.[47] Monte's family ties extend to her Italian-Brazilian heritage on her father's side, where she descends from the Saboia family, one of the earliest Italian immigrant lineages in Brazil dating back centuries.[48] This connection underscores her deep roots in Brazilian culture while reflecting broader patterns of Italian diaspora in the country. Monte resides primarily in Rio de Janeiro, where she was born and raised, though her international tours and collaborations occasionally lead to extended stays abroad.[11]Advocacy and business ventures
Marisa Monte has maintained full ownership and control over her musical catalog since the beginning of her career, establishing her independent label Phonomotor in 1999 to oversee production, distribution, and rights management. This setup allowed her to retain creative and financial autonomy, including through partnerships with major labels like EMI and later Sony for distribution while keeping master rights in her possession.[49][41] Her approach to copyright has been a cornerstone of her business strategy, exemplified by her insistence on retaining rights during contract renewals, which has enabled her to license her work selectively and protect her artistic output.[3] In 2024, Monte actively advocated for stronger copyright protections in Brazil's artificial intelligence legislation, co-signing an open letter to the Federal Senate alongside artists such as Caetano Veloso and Milton Nascimento. The letter urged the inclusion of provisions requiring disclosure of AI training data, creators' rights to authorize or prohibit use of their works, and mechanisms for fair remuneration, positioning Brazil as a leader in safeguarding artistic rights amid global AI advancements.[50] Following the Senate's approval of Bill 2,338/2023 on December 10, 2024—which incorporated these protections—Monte publicly celebrated the outcome as a vital step forward, while cautioning that further battles loomed in the Chamber of Deputies.[51] Monte's commitment to cultural preservation is evident in her support for projects honoring Brazilian popular music (MPB) heritage, particularly through Phonomotor's production of the 2000 album Tudo Azul by the Velha Guarda da Portela, a group of veteran samba musicians from the historic Portela samba school. She financed, produced, and contributed vocals to the record, which revived classic compositions from 1945 to 1972, helping to document and promote the roots of samba—a foundational element of MPB—amid its evolving modern landscape.[41] This initiative underscored her role in bridging generational traditions, ensuring that elder artists' legacies reached contemporary audiences. On the business front, Monte has expanded beyond performing through Phonomotor, which functions as her production company for select releases and collaborations, including the 2016 compilation Coleção. Curated by Monte, the album draws from her discography to showcase her evolution across genres, serving as both a retrospective and a commercial venture that sold over 40,000 copies in Brazil upon release.[52] Her publishing arm, Monte Songs, further bolsters these efforts by administering global rights, as seen in its 2020 administration deal with Universal Music Publishing Group, allowing strategic international expansion without relinquishing ownership.[53]Legacy and recognition
Awards and nominations
Marisa Monte has received extensive recognition throughout her career, accumulating over 50 nominations across various prestigious awards in Brazil and internationally. Her accolades span domestic honors in the 1990s, international breakthroughs in the 2000s, and continued acclaim in recent years, reflecting her influence in MPB and broader Latin music.[5][54] In the 1990s, Monte established her prominence in Brazilian music with early wins from domestic institutions. She earned five APCA Awards, including recognition for her debut work and vocal excellence. Additionally, she secured seven MTV Video Music Brazil Awards, highlighting her innovative music videos and performances during this formative period. By the decade's end, she had also begun accumulating nominations at the Multishow Brazilian Music Awards, where she would later dominate.[1] The 2000s marked Monte's international ascent, particularly through the Latin Grammy Awards, where she has won five times and received 19 nominations overall. Her victories include Best MPB Album for Universo ao Meu Redor in 2006, Best Brazilian Contemporary Pop Album for Infinito Particular in 2006, Best MPB Album for Verdade, Uma Ilusão in 2014, and Best Portuguese Language Song for "Vento Sardo" in 2022.[5][55][56][57] Domestically, this era saw Monte win eight Prêmio da Música Brasileira awards (formerly Prêmio Sharp), including in 1990 for MPB Revelação feminina; 1997 for Pop/Rock Melhor cantora; 2007 for Especial Melhor cantora pelo voto popular, Pop/Rock Melhor cantora, and Samba Melhor cantora; 2012 and 2015 for Pop/Rock Melhor cantora; and 2024 for Pop/Rock Melhor Intérprete. She also claimed nine Multishow Brazilian Music Awards, often for Best Singer and Album of the Year, underscoring her commercial and artistic dominance. In 2007, Rolling Stone Brasil ranked her as the second greatest Brazilian singer of all time, behind only Elis Regina, in their list of the 100 greatest voices in Brazilian music.[54][11][58] In her later career from 2010 onward, Monte continued to garner nominations, including for her 2021 album Portas, which earned nods at the 2022 Latin Grammy for Best MPB Album and the 2024 Latin Grammy for Best MPB Album (live version). These recent honors, alongside her ongoing Prêmio da Música Brasileira success, affirm her enduring relevance.[5][55]Cultural impact
Marisa Monte has profoundly influenced subsequent generations of Brazilian artists, particularly in the fusion of MPB and samba traditions, serving as a generational bridge that introduces younger musicians to classic styles while incorporating contemporary elements.[59] Her innovative songwriting partnerships, such as with younger collaborator Silva, have further inspired emerging talents to blend traditional rhythms with modern production techniques.[60] Monte's global role has been instrumental in bridging Brazilian music to international audiences, elevating MPB's visibility through high-profile collaborations and exports. Her work with international figures like David Byrne, Philip Glass, and Laurie Anderson on albums since the 1990s has fused MPB with global sounds, broadening its appeal beyond Brazil.[61] The 2002 Tribalistas project, featuring Monte alongside Carlinhos Brown and Arnaldo Antunes, achieved international phenomenon status with over three million copies sold worldwide, significantly boosting MPB's export and introducing Brazilian fusion to global listeners.[62] Frequent U.S. tours and her 2021 Premio Tenco lifetime achievement award in Italy—as the first Brazilian woman to receive it—have solidified her as a key ambassador for Latin American music.[13] In legacy rankings, Monte holds a prominent position, named Brazil's second-greatest singer by Rolling Stone Brasil, behind only Elis Regina, underscoring her enduring contributions to genre preservation amid the dominance of pop and electronic styles.[61] Her efforts to maintain MPB's cultural heritage are evident in her eclectic discography, which revives traditional sambas and bossa nova while adapting them for modern contexts.[13] Monte's cultural milestones include her pivotal role in the 2000s Brazilian music renaissance, where Tribalistas not only topped domestic charts but was voted the second-best Brazilian album of 2002, revitalizing interest in collaborative MPB projects during a period of genre diversification. More recently, in 2024, she emerged as a forward-thinking advocate by appealing to the Brazilian Parliament through an open letter supporting Bill No. 2338/2023, which seeks to protect creators' copyrights in AI-generated content; her call mobilized over 1,000 artists and 40 associations, emphasizing fair remuneration amid projected market disruptions.[63]Discography
Studio albums
Marisa Monte's studio albums represent her core contributions to Brazilian popular music, often co-produced by the artist herself alongside collaborators like Arto Lindsay and Arnaldo Antunes, and released primarily through EMI and her independent label Phonomotor Records. These works highlight her versatile fusion of MPB, samba, and contemporary influences, with several achieving commercial success in Brazil and internationally. The following table summarizes her studio albums, including release details, key production credits, chart performance in Brazil (where data is available), certifications from Pro-Música Brasil, and approximate sales figures based on reported data.[16][64][65]| Album | Release Year | Label | Producer(s) | Peak Chart (Brazil) | Certifications | Sales (approx.) |
|---|---|---|---|---|---|---|
| Mais | 1991 | EMI | Marisa Monte, Arto Lindsay | #1 | 4× Platinum | 710,000 |
| Verde, Anil, Amarelo, Cor-de-Rosa e Carvão (Rose and Hammer) | 1994 | EMI | Arto Lindsay | #1 | Platinum | 300,000 |
| Barulhinho Bom (A Great Noise) | 1996 | EMI | Marisa Monte | #5 | Gold | 250,000 |
| Memórias, Crônicas e Declarações de Amor | 2000 | EMI | Marisa Monte, Arto Lindsay | #1 | 3× Platinum | 600,000 |
| Tribalistas (group) | 2002 | Phonomotor/EMI | Tribalistas (Monte, Antunes, Brown) | #1 | 4× Platinum | 1,000,000 |
| Infinito Particular | 2006 | Phonomotor/EMI | Marisa Monte | #1 | Gold | 120,000 |
| Universo ao Meu Redor | 2006 | Phonomotor/EMI | Marisa Monte | #1 | Platinum | 200,000 |
| O Que Você Quer Saber de Verdade | 2011 | EMI | Marisa Monte | #1 | Gold | 50,000 |
| Tribalistas (group) | 2017 | Phonomotor/Universal Music | Tribalistas (Monte, Antunes, Brown) | #1 | Gold | 50,000 |
| Portas | 2021 | Phonomotor Records | Marisa Monte, Arto Lindsay | #1 | Gold | 50,000 |
Live and compilation albums
Marisa Monte's live albums document her energetic stage presence and ability to reimagine songs through altered arrangements and direct audience engagement, often drawing from tours that blend samba, MPB, and pop elements. These releases highlight her vocal versatility in concert settings, with performances captured at key venues in Brazil. Her debut, MM (EMI, 1989), was recorded live during shows in Rio de Janeiro upon her return from studies in Italy, featuring cellist Jaques Morelenbaum and a repertoire spanning tropicalia, samba, forró, and North American standards like "Chocolate." The album emphasizes intimate crowd interactions and dynamic shifts in instrumentation for added energy, such as the carnival-infused "Lenda das Sereias."[41] A companion video, Marisa Monte Ao Vivo (Phonomotor, 2003 reissue), includes additional footage with guest saxophonist Paulo Moura, showcasing multilingual audience responses.[41] Barulhinho Bom (Uma Viagem Musical) (EMI, 1996) is a double-disc set from her mid-1990s tour, with the first disc comprising live recordings from Brazilian theaters and the second offering studio versions of inéditas tracks like "De Noite na Cama." Live portions feature heightened audience participation, with Monte encouraging sing-alongs on reinterpreted hits such as "Panis et Circenses" and "Beija Eu," adapting studio originals for acoustic warmth and spontaneity. The album achieved 250,000 sales in Brazil, reflecting its commercial success.[16][70] Later live efforts include Infinito ao Meu Redor (EMI, 2008), culled from her Universo ao Meu Redor tour, where Monte incorporates guest musicians for layered, improvisational takes on tracks like "Vilarejo," emphasizing rhythmic interplay with crowds.[64] Similarly, Verdade, Uma Ilusão (Universal Music, 2014) captures her 2012–2013 tour, with anthemic songs such as "Calma" fostering communal energy through extended outros and call-and-response elements.[41] Portas (Ao Vivo) (Phonomotor, 2023), released December 14, 2023, documents her Portas tour with live renditions of the album's tracks, earning a 2024 Latin Grammy nomination for Best MPB Album.[71] Monte's compilation albums serve as retrospectives, curating career highlights to illustrate her evolution across genres. Coleção (Sony Music, 2016) is a 13-track greatest hits collection spanning 1989 to 2012, including live-adapted favorites like "Cama" and collaborations such as "Nu com a Minha Música" with Devendra Banhart and Rodrigo Amarante, plus rarities like "É Doce Morrer no Mar" with Cesária Évora. It prioritizes thematic flow over chronology, blending MPB staples with international duets to showcase her global appeal.[72][73]Video albums and singles
Marisa Monte's video discography complements her audio releases by capturing live performances, collaborations, and creative processes through visual media. Her first video album, MM ao Vivo (1989), documented her debut concert at Rio de Janeiro's Teatro Villa-Lobos, directed by Nelson Motta and Walter Salles, with guest appearances by Ed Motta and clarinetist Paulo Moura. This release highlighted her fresh take on Brazilian popular music standards like "Comida" and "Chocolate," establishing her stage presence early in her career.[74][75] Subsequent video albums emphasized her collaborative ethos and evolution. Barulhinho Bom: Uma Viagem Musical (1997, DVD reissue 2004), directed by Cláudio Torres and Lula Buarque de Hollanda, featured intimate sessions with artists including Arnaldo Antunes, Carlinhos Brown, Paulinho da Viola, and the Pastoras do Portela choir, blending samba, MPB, and experimental sounds in a homey, acoustic setting.[76][77] The 2002 video for Memórias, Crônicas e Declarações de Amor captured tour highlights, showcasing orchestral arrangements and emotional depth in tracks like "Amor I Love You." Later releases further explored her artistic journey. Ao Vivo (2003), a straightforward concert film, revived classics from her catalog in energetic live renditions. The 2008 documentary Infinito ao Meu Redor, directed by George Fendpoint, drew from 500 hours of footage during the Universo ao Meu Redor and Infinito Particular tours, offering behind-the-scenes glimpses into songwriting and global performances.[78] Na Estrada (2012) chronicled road tour moments, while Marisa Monte ao Vivo no Royal Albert Hall (2015) marked her international milestone with a London show blending samba and pop. Her most recent, Portas (2021), visualized the introspective themes of her album through minimalist live clips. These video albums collectively span her career, prioritizing artistic intimacy over commercial spectacle.[79][80]| Video Album | Year | Director(s) | Key Details |
|---|---|---|---|
| MM ao Vivo | 1989 | Nelson Motta, Walter Salles | Live debut concert at Teatro Villa-Lobos; guests include Ed Motta and Paulo Moura. |
| Mais | 1991 | Not specified | Promotional live and studio visuals tied to her second album. |
| Barulhinho Bom: Uma Viagem Musical | 1997 (DVD 2004) | Cláudio Torres, Lula Buarque de Hollanda | Collaborative sessions with Antunes, Brown, and others; acoustic focus. |
| Memórias, Crônicas e Declarações de Amor | 2002 | Not specified | Tour documentary with orchestral performances. |
| Ao Vivo | 2003 | Not specified | Full concert revival of hits. |
| Infinito ao Meu Redor | 2008 | George Fendpoint | Tour documentary for dual-album release; 500 hours of footage. |
| Na Estrada / Royal Albert Hall | 2012 / 2015 | Not specified | Road tour and London live show. |
| Portas | 2021 | Not specified | Minimalist visuals for recent album themes. |