It’s when she is on stage at Lisbon’s historic Clube de Fado venue, in the traditional Alfama quarter, that Carolina reveals herself truly. It is in this ambience, more solemn, more nocturnal, with the discrete lighting underlining the intimacy of the moment, with her musicians, with no technology, no microphone, no amplification, that she is at her prime. Her performance echoes through the centuries-old stones of the building, captivating the listener, bringing the audience to its feet as her clear, deep voice makes the words she sings live and feel the timeless tale of Fado.
Carolina has released two albums on Sony Music – 2014’s Carolina, recorded with António Zambujo’s producer Ricardo Cruz, and 2017’s enCantado, produced by Diogo Clemente (who has worked with Carminho and Mariza). And she has made quite clear she has the voice, the heart, the personality and the will to go as far as she wants to. Because a career is built on commitment, investment, seriousness, and talent – and Carolina has all of those, in large quantities.
Though born in Germany, it was in the North of Portugal that Carolina grew up and discovered Fado. She studied and performed theater in Oporto, she sang opera, and one day she sang three Fados she had learnt from Amália Rodrigues’ old records. Her performance was so impressive that she was offered a regular spot at one of the city’s premier Fado houses, Casa da Mariquinhas.
Fado brought her closer to the stage, and closer to Lisbon. Theatre director Filipe La Féria invited her to play the role made famous by 1930s actress Beatriz Costa in his stage production of Song of Lisbon and later the role of “Amália”.The acclaimed Fado guitarist Mário Pacheco, who runs Clube de Fado, invited her to sing in Warsaw, where Carolina understood Fado was her destiny. She sang in the Fado Museum in 2009 and 2010, has been performing live all over the world (and even in films), and started her recording career.
Carolina knows her time has come. She is her own singer, her own artist; she makes hers the traditional Fado melodies every self-respecting Fado singer knows by heart, while singing contemporary material from someone like pop songwriter Carolina Deslandes, and both have a place in her recordings. Her soul may carry the old memories, the old lessons, but her voice is of our days, and translates all the nuances of love as it is loved today. Whether in a Fado house, in a major concert hall, in Portugal or abroad, Carolina is always the same: a true artist who sings what she feels and feels what she sings.