Ney Matogrosso

小简介
Ney在青少年时就展示出了艺术天分，擅长唱歌、绘画及表演。他的演唱才华，尤其是声音的与众不同使他在一些小型的演出场合得到人们的赞赏。他喜欢戏剧，梦想有朝一日成为演员。
1966年，Ney辞去在巴西利亚某部队医院实验室的工作，到里约热内卢寻梦。找演员的工作并不容易，孤僻任性的Ney在那里过了好几年嬉皮士的生活，以靠贬卖工艺品为生。直到1971年在圣保罗结识Sergio Ricardo，后者准备成立一支“干湿闪电乐队”(grupo relampago Secos ＆ Molhados)，正到处物色有戏剧细胞并且嗓音尖细的演艺人才。Ney歪打正着就这样成了这支乐队的成员。这支乐队尽管只存在了一年半却发行了两张唱片，销售达150万张，是巴西摇滚音乐历史上绚丽的一景。
1974年乐队因内部纠纷解散。这之后，也有一定名气的Ney开始单飞。在76年77年间，他发行了3张个人专辑，分别是Bandido, Pecado和Feitico，其中Fetico碟中的“Bandolero”获得巨大成功。Ney艺术的黄金时代开始了。从70年代末到80年代，Ney在巴西全国、南美诸国、欧洲、美国、以色列等地巡回演唱。值得一提的是，Ney的挑战世俗，另类百变的舞台造型在70年代那个相对保守的时代遭致众多的批评，甚至文化审查机关也禁止他的公开演出。然而不可否认的是，他与众不同的艺术风格也是他成功的重要元素。
除了众多的歌唱表演，Ney还主演了不少音乐剧与电影。在1983年，Ney得到了两张铂金唱片奖及一张金唱片奖。1986年，在一项名为Luz do solo的演出中，Ney平生第一次没有化妆及着奇装异服就登台，并宣布今后将以音乐为事业主打方向。
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, São Paulo, and Brasília, where he was a close friend of singer/composer Luli. Through her he met João Ricardo, who had a vision for a groundbreaking group and was searching for a high-pitched male voice. Invited by Ricardo, Matogrosso moved to São 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 Tão 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.