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The "Flor de Fado" album was recorded in the first quarter of 2008, and the decision to highlight the sound of the classical guitar on the album particularly emphasized Luís Pontes’s collaboration on songs written by him, arrangements for these and other songs, and his involvement in the composition and final mix alongside Ramón Maschio, a composer and arranger who also dedicated himself to working on a large portion of the tracks on the album. The group responsible for developing the project was joined by Fernando Judice, on the acoustic bass, who contributed not only his vast experience as a musician and producer on many other projects, but also the crucial vision of someone who, both in fado as a whole and on this project in particular, attempts to seek out new horizons, with the generosity needed to discover and add to them. The Pé de vento studio, and the man responsible for running it, the technician Fernando Nunes, became determining factors in the success of this album, which they managed to put toget
her in an ambience of immense satisfaction, friendship, and great professionalism.

Also invited to form part of this select group were the young Ângelo Freire on the Portuguese guitar, and Davide Zaccaria on violoncello. Furthermore, in a unique pairing, there is a song by Olivia Byington that is set to the poetry of Tiago Torres da Silva and interpreted by the two singers in a perfect spirit of togetherness. "Entre a voz e o oceano" [Between the Voice and the Sea] shows in an intentionally simple way the pleasure that can come from the coupling of a good poem, a guitar, and little more than a “good groove” and a desire to make music together.

In addition to the creations of the fadista, who once again reinvented herself on a number of tracks on the album, special mention is also due to Tiago Torres da Silva, a poet and primarily a lyricist, with his ever more inspired and profound vision of the Portuguese soul and his unrivalled ability to create words that beg to be sung. Also worthy of note is Mafalda Arnauth’s debut performance of a song by Ernesto Leite, set to the poetry of Tiago Torres da Silva, namely "O mar fala de ti” [Perhaps There…], one of the emotional and vibrant pearls to be found on this disc.

There was also room to include versions of "Tinta verde" [Green Ink] by Vitorino, "Flor de Verde Pinho” [Flower of the Green Pine] by Manuel Alegre and José Niza, and "Povo que lavas no rio" [ People Washing in the River], by Pedro Homem de Mello, to the music of the fado Vitória.

"Flor de Fado" was released in 2008. The theme of the album, according to quotations from the artist herself that were inspired by Eugénio de Andrade, is love. “É urgente o Amor!" [Love is Urgent!], as the great poet put it so well.


While in the process of creating her album, Mafalda Arnauth also continued to work on various other projects in which she has been invited to participate. Singer of the theme song of the remake of the first Portuguese soap opera, "Vila Faia", she also has a new song coming out on its soundtrack, "Amor abre a janela," [Love Opens the Window] by Tiago Torres da Silva and Luís Pontes.

She was also invited to participate on a project initiated by the Basque musician Kepa Junquera, singing traditional Basque songs in their original versions.

Her performing schedule remained just as intense as ever, and included significant dates such as a concert at the Bozar, in Belgium; her return to the Concertgebow in the Netherlands, followed by another show in the Hague; three concerts in Italy following the release of the “Diário” album in that country, including an especially important concert in Rome, in one of the country’s most prestigious concert halls; and finally, a trip to São Paulo for her debut performance at one of the most emblematic concert halls in the country: the Bar Baretto, where some of the biggest names in Brazilian popular music have performed.

As part of the fado festival that took place in June in Lisbon, Mafalda Arnauth played a debut concert entitled "Clássicos, Standards e Raros" [Classics, Standards, and Rare Pieces], which saw the artist performing some of the best-known songs in fado as well as a few unreleased numbers that primarily show the influence of fado on composers working in other areas, as well as her vision of that musical universe which is as unique as it is fascinating for the world at large.

Having got off to the best possible start, 2008 clearly looked to be a year full of many and significant events in the musical journey of an artist who continued to see her unique life as a rare blessing, and to find in that blessing the best possible reason, if any reasons were needed, to keep on going.

In August, Mafalda Arnauth performed with Pablo Milanés in SOS del Rey Católico, sharing the stage with the renowned Cuban singer in a rendition of one of his most famous songs, “Para Vivir”.

In a year marked by meetings with other artists, she and the Galician group Milladoiro celebrated music’s ability to cross borders in the best possible way. Featuring as a guest artist on the band’s “Quinta das Lágrimas” album, Mafalda Arnauth subsequently participated in several concerts with the band, further strengthening her ties with Spain.

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