Learn Portuguese With Vanessa da Mata with these 23 Song Recommendations (Full Translations Included!)

The title of this song, "Ainda Bem," translates to "Thank goodness" or "It's a good thing," and that's the whole feeling of the track. It's a sweet and simple celebration of finding the right person. The singer looks at her partner and thinks, "Ainda bem / Que você vive comigo" [Thank goodness / That you live with me], wondering what life would even be like without them. She doesn't have an answer, just a shrug: "Sei lá, sei lá" [I don't know, I don't know]. It's a song about the quiet comforts of a great relationship, how having that person makes everything easier, even pain. Their presence alone can make the world stop.

The song feels like a lucky realization. The singer reflects on how incredible it is that they found each other out of everyone in the world. She calls their relationship a matter of luck, not chance: "Seria o acaso e não sorte" [It would be by chance and not by luck]. It's a huge thought, but she puts it so simply: "Entre tantos anos / Entre tantos outros / Que sorte a nossa hein" [Among so many years / Among so many others / What luck we have, huh]. It’s a beautiful tribute to a love that feels both comforting and incredibly fortunate.

Breakups rarely sound this breezy, but Brazilian singer Vanessa da Mata and American songwriter Ben Harper pull it off with total clarity. The track cuts right to the chase with the brutally honest opening lines: É só isso / Não tem mais jeito / Acabou / Boa sorte ("That's it / There's no way / It's over / Good luck"). No dramatic screaming, no back-and-forth arguments. One person simply packs up and walks away because the relationship turned exhausting. The demands became suffocating—É demais / É pesado / Não há paz ("It's too much / It's heavy / There's no peace")—choked by what they call irreais expectativas desleais ("unrealistic, unfair expectations").

What makes this duet so good for language learners is how Ben Harper translates the Portuguese lines almost word-for-word, creating an instant mirror between the two languages. You also get some neat linguistic gems in the verses. Vanessa sings about a desencontro ("a disconnection" or "a missed encounter"), a handy Portuguese word used when two people fail to meet up or simply drift out of sync. Then she adds the reminder: Um bom encontro é de dois ("A good match takes two"). It is a warm, polite kiss-off that basically tells an ex: heal yourself, move on, and remember there are plenty of other special people out there.

Vanessa da Mata kicks off this upbeat pop track with a bold defense of taking romantic risks. She warns that the real failure is giving up before you even try: "Mas o pior não é não conseguir / É desistir de tentar" ("But the worst thing isn't failing / It's giving up on trying"). She points out how society conditions us to be cynical, noting that she grew up surrounded by bitter jokes and clichés about commitment, where settling down with someone (amasiar) or getting married was mocked, and opening your heart (se entregar) was viewed as a sign of weakness.

Instead of letting fear win, she imagines a future that defies time and decay. She compares her bond to Gustav Klimt's famous painting, declaring "nós somos um quadro de Klimt / 'O Beijo' para sempre fagulhando em cores" ("we are a Klimt painting / 'The Kiss' forever sparking in colors"). It is a vivid image that leads into an unashamedly sweet daydream: turning into two happy old people walking hand in hand on a sunny afternoon ("Dois velhos felizes / De mãos dadas numa tarde de sol").

Imagine dropping everything for a whirlwind romance that feels straight out of the movies. In Ai, Ai, Ai... Brazilian singer Vanessa da Mata paints that fantasy with vibrant colors: endless affection, spontaneous road trips, pristine beaches, and hidden waterfalls. She promises a love so cinematic that there is never a dull moment, only gentle breezes, star-bright skies, and joyful toasts to life.

At its heart, the song is an invitation to embrace simplicity and freedom. The playful “ai, ai, ai” refrain bursts with carefree excitement, while the lyrics suggest that all we really need is a refreshing banho de chuva – a rain shower that washes worries away. It is a celebration of living in the present, trusting love, and finding happiness in nature’s little miracles.

“Apenas Mais Uma de Amor” invites us into a secret garden of feelings where love is cherished precisely because it is unspoken. Vanessa da Mata sings about liking someone so much that she would rather keep the emotion hidden, letting it live as a beautiful, abstract idea in her mind. By refusing to demand that the romance “happen,” she protects its fragile charm, celebrating the thrill of possibility without the risk of disappointment. What might look like weakness is actually a quiet strength: she enjoys the happiness her silent crush brings and promises to handle any heartbreak on her own, far from prying eyes.

Through this tender confession, the song reminds us that some emotions shine brightest when they remain untamed. Beauty is fleeting, dreams can be exquisite even if unrealized, and true independence means owning both the gains and losses of the heart. It is a breezy, softly defiant anthem for anyone who has ever loved in silence and found power in that gentle secrecy.

Tänk dig ett uppbrott där ingen skriker, men där dörren stängs helt utan pardon. Brasilianska Vanessa da Mata och amerikanska Ben Harper delar på mikrofonen i Boa Sorte, och texten går rakt på sak utan krusiduller: É só isso / Não tem mais jeito / Acabou / Boa sorte (Det är bara det här / Det finns ingen utväg längre / Det är slut / Lycka till). Det låter mjukt i melodin, men orden svider. Orsaken till separationen staplas upp som en konkret lista av utmattning. Relationen har blivit för tung att bära: Tudo o que quer me dar / É demais / É pesado / Não há paz (Allt du vill ge mig / Är för mycket / Är tungt / Det finns ingen fred), parat med Irreais / Expectativas / Desleais (Overkliga / Förväntningar / Illojala). Det finns inga kompromisser kvar när kravbilden har blivit orimlig.

I stället för att fastna i bitterhet skickar sången med en ganska krasch och praktisk hälsning till exet: Há tantas pessoas especiais (Det finns så många speciella människor). Det är en påminnelse om att världen är full av folk och att man inte måste tvinga fram kemi där den saknas. Vanessa sjunger också den klockrena raden Um bom encontro é de dois (Ett bra möte kräver två). Båda personerna måste faktiskt vilja och mötas på mitten, annars faller man bara handlöst ut i mörkret – eller som Ben Harper upprepar på engelska: Now we're falling, falling / Into the night (Nu faller vi, faller / In i natten).

¿Te da miedo enamorarte porque todo el mundo a tu alrededor parece amargado con el tema? Vanessa da Mata te entiende perfectamente. En "Te Amo", la cantautora brasileña se rebela contra todos esos cínicos que dicen que entregarse es una debilidad: «Eu cresci ouvindo anedotas, clichês e chacotas» («Crecí escuchando anécdotas, clichés y burlas») sobre lo terrible que es convivir o casarse. De hecho, usa el verbo coloquial «amasiar» («juntarse» o vivir en pareja sin casarse), mostrando lo común que es escuchar chistes de resignación sobre la vida marital. Para ella, el fracaso real no es que una relación termine mal, sino el miedo que te hace tirar la toalla antes de empezar: «o pior não é não conseguir / É desistir de tentar» («lo peor no es no conseguirlo, es rendirse de intentar»).

Vanessa no niega las dudas reales que aparecen con el paso de los años, como ese temor de despertar un día y mirar a tu pareja sin reconocerla («E um dia eu te olhar e não te reconhecer»). Pero en vez de quedarse en la paranoia, prefiere apostar a lo grande con una imagen preciosa: compara su amor con una obra de arte concreta, «um quadro de Klimt, 'O Beijo' para sempre fagulhando em cores» («un cuadro de Klimt, 'El beso' para siempre chispeando en colores»). Así invoca la famosa pintura dorada de Gustav Klimt para verse a futuro como «dois velhos felizes de mãos dadas numa tarde de sol» («dos ancianos felices tomados de la mano en una tarde soleada»). Es una declaración de amor directa, luminosa y sin cinismo.

Have you ever had a neighbor who complains about everything? Brazilian singer Vanessa da Mata captures this feeling perfectly in her song "Vizinha Enjoada," which means "Annoying Neighbor."

The singer describes her neighbor, Dona Maria, who is always watching and always complaining. Whether it's day or night, a holiday or a regular Sunday, the singer can't even listen to her music or walk around her own home without Dona Maria finding a reason to be upset. The neighbor seems to blame the singer for everything that's missing in her own life.

But here's the funny twist! The singer gets so used to the constant complaints that when the neighbor is quiet, she starts to worry. She wonders if Dona Maria is okay or if she's lonely. In the end, the singer offers a kind of prayer, wishing her neighbor health, joy, friends, and harmony. But the final line reveals her true wish: that God will give the neighbor so many good things that she will finally, for the love of God, forget all about the singer and leave her in peace!

Vanessa da Mata's "Nossa Geração" is a really thought-provoking song that imagines a world where everything is possible without fear. She sings, "No faz de conta meu amor / Faça de conta meu amor / Que tudo pode ser sem medo" [In make-believe, my love / Pretend, my love / That everything can be without fear]. It's a beautiful idea, especially when she contrasts it with the reality she sees around her.

The song laments how our generation has lost touch with genuine connection. Vanessa observes, "Nossa geração não se beija mais / Foram doutrinados a achar sujo" [Our generation doesn't kiss anymore / They were indoctrinated to think it dirty]. She feels like we've been taught to be afraid of intimacy and to judge what's different, saying "Nossa geração mata o diferente / Padronizam frutos, flores e gente" [Our generation kills what's different / They standardize fruits, flowers and people]. It's a powerful call to remember the beauty of individuality and the importance of not letting the "orchestra" of life be silenced, reminding us that "Existem violinos, tubas e percussões / Florestas, cores, gente, cheia de sensações" [There are violins, tubas and percussions / Forests, colors, people, full of sensations].

Get ready to smile with Vanessa da Mata's "Debaixo da Saia Dela"! This song is a playful and imaginative look at infatuation, told through the eyes of someone observing a boy completely smitten.

The lyrics describe this boy who is absolutely captivated by a woman. He's so in love, he's "paralisado, comida de mosquito" [paralyzed, mosquito food], just waiting for her to turn the corner. The narrator wonders what this mysterious woman carries "Embaixo daquela saia com tanto cuidado" [Under that skirt with so much care]. And the answer? It's a beautiful, whimsical list of Brazilian wonders: a "pé de jacarandá" [jacaranda tree], "fruta do ingazeiro" [ice cream bean fruit], and even a "janela pro mundo inteiro" [window to the whole world]. It's a charming celebration of imagination and the magic we see in someone we adore.

A veces una relación se vuelve tan asfixiante que la única salida sana es decir adiós con toda la calma del mundo. Eso es exactamente lo que canta la brasileña Vanessa da Mata junto a Ben Harper en "Boa Sorte". Desde el primer segundo no hay rodeos ni dramas exagerados: la letra arranca directa con «É só isso / Não tem mais jeito / Acabou / Boa sorte» («Es solo eso / Ya no hay vuelta de hoja / Se acabó / Buena suerte»). La frase «não tem mais jeito» es una expresión clásica para decir que una situación ya no tiene arreglo ni remedio.

El problema central aquí no es la falta de cariño, sino el peso insoportable de las exigencias. Vanessa lo deja clarísimo cuando canta «Tudo o que quer me dar / É demais / É pesado / Não há paz» («Todo lo que quieres darme / Es demasiado / Es pesado / No hay paz») y remata criticando esas «expectativas desleais» («expectativas desleales»). En vez de quedarse atrapados en reproches eternos, nos recuerdan una verdad simple pero sabia: «Um bom encontro é de dois» («Un buen encuentro es de dos»). Si la sintonía ya no existe, desearle buena suerte a la otra persona y seguir adelante es la mejor decisión.

In "Foice," which means "Scythe" in English, Vanessa da Mata creates a powerful anthem of resilience and justice. The song is like a protective shield, pushing away negativity ("If you give me the evil eye, I didn't even see it") and cutting down mistreatment with a symbolic scythe. It paints a vivid picture of everyday struggles in Brazil, from a woman carrying spoiled bananas from the market to the frustration with corrupt politicians and a failing system where the nation's wealth is sent abroad.

Amidst this chaos, the song offers a guide to survival. It lists traditional folk remedies for stress-related illnesses like insomnia and gastritis, reminding us to stay sane and healthy ("In this mess, you have to be sane"). The lyrics are also a powerful call for spiritual protection, blending references from both Catholicism (like Nossa Senhora) and Afro-Brazilian religions (like the deities Xangô and Oxum). It's a call to stand up against racism and injustice, seeking divine justice to overcome the evils of the world.

Have you ever felt like you "lost an love" but deep down, you knew it was actually a good thing? Vanessa da Mata's "Vá Com Deus" [Go With God] totally gets it! She sings, "Vejo o povo dizer que perdeu um amor e quando estava lá só rimava com dor / Isso não é perda isso é livramento" [I see people say they lost a love and when it was there it only rhymed with pain / That's not a loss, that's a release]. It's such a refreshing take on breakups, reminding us that sometimes, what feels like a loss is actually freedom.

This song is all about embracing your own company and finding strength in self-sufficiency. Vanessa questions why people are so afraid of being alone, asking, "Qual é o problema de estar na sua própria companhia?" [What's the problem with being in your own company?]. She even describes a couple stuck in a "ligação de ódio" [connection of hate], walking around like "meio mortos vivos" [half living dead] until they finally understood their lack of love. It's a powerful message about recognizing when something isn't serving you and having the courage to say, "Vá com Deus" [Go with God] to what no longer brings you joy. It's a celebration of independence and finding peace within yourself!

"Fique Aqui" ("Stay Here") is a duet between MPB singer Vanessa da Mata and rapper L7NNON. Vanessa's verses look back on meeting someone who felt lost, and she asks them to stay a little longer, even without any promise that it will last.

L7NNON's verse changes the mood. He raps about facing life and death head on, "crashing on the curve" while trying to run from the relationship, and coming out stronger for having lived through the struggle.

The song ends gently, repeating that even if it doesn't last, the person she loved still lives on in her thoughts.

Hast du dich jemals gefragt, wie das Leben eigentlich ohne deinen Lieblingsmenschen aussehen würde? Die brasilianische Sängerin Vanessa da Mata beantwortet das in ihrem Pop-Song „Ainda Bem“ herrlich direkt: „Sei lá, sei lá“ (Keine Ahnung, wer weiß das schon). Der Titel bedeutet übersetzt so viel wie „Ein Glück“ oder „Zum Glück“, und genau diese warme Dankbarkeit zieht sich durch jede Zeile. Sie singt davon, wie kalte Tage durch Umarmungen gemütlich werden und wie Blumen kleine Beweise für echte Fürsorge sind. Wenn Schmerzen da sind, reicht manchmal schon ein Blick auf das Gesicht des Partners, damit die Welt kurz stillsteht: „Seu rosto silencia e faz parar“ (Dein Gesicht bringt alles zum Schweigen und hält es an).

Was ich an dem Text besonders mag: Vanessa da Mata stellt klar, dass diese Liebe kein bloßer Zufall ist, sondern riesiges Glück. Mit der umgangssprachlichen Floskel „Que sorte a nossa hein“ (Was für ein Glück wir doch haben, was?) bringt sie es auf den Punkt: Bei all den Jahrhunderten, Jahren und all den anderen Menschen auf der Welt ist es fast schon ein Wunder, dass sich genau diese beiden gefunden haben. Ohne einander wären ihre Küsse zwecklos und der eigene Körper nur ein unvollständiges Teilchen. Ein herrlich ehrlicher Liebessong über Geborgenheit, der sich anfühlt wie eine warme Tasse Tee an einem verregneten Nachmittag.

Hast du auch schon mal den Rat gehört, bloß vorsichtig mit Gefühlen zu sein? Vanessa da Mata räumt in diesem Pop-Track direkt mit solchen Warnungen auf. Sie singt, dass sie mit Witzen und Klischees übers Heiraten und Zusammenziehen aufgewachsen ist: „Eu cresci ouvindo anedotas, clichês e chacotas […] sobre amasiar, se casar“ (Ich bin aufgewachsen und habe Anekdoten, Klischees und Spott gehört […] übers wilde Zusammenleben, übers Heiraten). Das brasilianische Wort amasiar meint dabei umgangssprachlich das Zusammenleben ohne Trauschein, oft mit einem leicht spöttischen Beigeschmack. Viele tun so, als wäre Hingabe pure Schwäche: „Se entregar seria fraquejar“ (Sich hinzugeben wäre Schwäche zeigen). Vanessa sieht das ganz anders. Für sie ist Scheitern nicht das Problem, sondern gar nicht erst anzufangen: „Mas o pior não é não conseguir / É desistir de tentar“ (Aber das Schlimmste ist nicht, es nicht zu schaffen / Es ist aufzugeben, es zu versuchen).

Natürlich blendet sie die Zweifel nicht aus. Sie fragt sich offen, was passiert, wenn die Zeit vergeht und man sich fremd wird: „E um dia eu te olhar e não te reconhecer“ (Und eines Tages schaue ich dich an und erkenne dich nicht mehr). Doch statt in Panik zu verfallen, setzt sie dem ein berühmtes Kunstwerk entgegen. Sie vergleicht ihre Liebe mit Gustav Klimts Gemälde Der Kuss: „Mas nós somos um quadro de Klimt / 'O Beijo' para sempre fagulhando em cores“ (Aber wir sind ein Bild von Klimt / 'Der Kuss', für immer funkelnd in Farben). Das Ziel ist herrlich unaufgeregt und bodenständig: irgendwann als zwei glückliche alte Leute an einem sonnigen Nachmittag Hand in Hand dazusitzen („Dois velhos felizes / De mãos dadas numa tarde de sol“).

Brasiilia lauljatar Vanessa da Mata laulab siin poploos armastusest viisil, mis lükkab kõrvale igasuguse küünilisuse. Ta alustab meeldetuletusega, et kõige hullem pole mitte ebaõnnestuda, vaid proovimisest loobuda: „Mas o pior não é não conseguir / É desistir de tentar” (Kuid kõige hullem pole mitte läbi kukkuda / Vaid proovimisest loobuda). Vanessa tunnistab otsekoheselt, kuidas teda ümbritsesid lapsepõlves kibestunud naljad ja hoiatused, et tunnetele järele andmine võrdub nõrkusega. Tema vastus sellele eelarvamusele on aga lihtne ja kangekaelne kordus: „Te amo” (Armastan sind).

Mulle meeldib, kui konkreetsed on tema tulevikuhirmud: mis siis, kui aeg viib teise minema või romantika kaotab oma mõtte? Selle asemel et muretsemisse kinni jääda, laenab ta julgust kunstist. Ta võrdleb suhet Gustav Klimti kuulsa kullasärase maaliga: „Mas nós somos um quadro de Klimt / 'O Beijo' para sempre fagulhando em cores” (Kuid me oleme Klimti maal / 'Suudlus' igavesti värvides sädemetes). Tulemuseks pole mingi nooruse illusioon, vaid väga selge unistus: kaks õnnelikku vanainimest päikselisel pärastlõunal käest kinni hoidmas.

Laat je niet gek maken door cynische grappen over de liefde: dat is de boodschap waarmee de Braziliaanse zangeres Vanessa da Mata haar popnummer opent. Ze zingt dat ze opgroeide met "anedotas, clichês e chacotas" (grappen, clichés en bespottingen) over trouwen en samenwonen. Ze gebruikt daarbij het informele Portugese woord "amasiar" (hokken of ongehuwd samenwonen). Mensen om haar heen deden alsof verliefd worden een zwaktebod is: "Se entregar seria fraquejar" (je overgeven zou verzwakken zijn). Maar Vanessa veegt die angst van tafel. Het echte falen zit voor haar niet in een gebroken hart, maar in opgeven zonder het te proberen ("Mas o pior não é não conseguir, é desistir de tentar").

Natuurlijk stelt ze zichzelf ook de bange vragen: wat als de romantiek vervliegt en we elkaar later niet eens meer herkennen? Toch kiest ze vol overtuiging voor optimisme met een prachtige kunstvergelijking. Ze noemt haar relatie "um quadro de Klimt, 'O Beijo'" (een schilderij van Gustav Klimt, 'De Kus'). Die vonkende gouden kleuren moeten de tijd trotseren. Haar ultieme droombeeld is heerlijk nuchter en romantisch tegelijk: eindigen als "dois velhos felizes, de mãos dadas numa tarde de sol" (twee gelukkige oudjes, hand in hand op een zonnige middag). Geen wonder dat ze daarna de woorden "Te amo" (ik hou van jou) blijft herhalen als een vrolijke bezwering.

Brazílska speváčka Vanessa da Mata sa v tejto popovej skladbe bez okolkov stavia proti cynizmu dospelých. Spomína, ako odmalička počúvala vtipy a reči o tom, aké je manželstvo pasca: „Eu cresci ouvindo anedotas, clichês e chacotas... se entregar seria fraquejar“ (Vyrastala som pri počúvaní vtipov, klišé a posmeškov... odovzdať sa by znamenalo zlyhať). Používa tu hovorové sloveso amasiar, ktoré v brazílskej portugalčine znamená žiť s niekým „na divoko“, bez svadobného papiera. Vanessa ale hovorí jasné nie tomuto strachu z lásky. Oveľa horšie než neuspieť je podľa nej vôbec to neskúsiť.

Namiesto strachu z toho, že sa romantika vyparí a oni dvaja sa raz nespoznajú, vyťahuje nádherné prirovnanie k umeniu: „Mas nós somos um quadro de Klimt, 'O Beijo' para sempre fagulhando em cores“ (Ale my sme Klimtov obraz, 'Bozk' navždy iskriaci vo farbách). Odkazuje priamo na slávne zlaté dielo Gustava Klimta plné objatia. Jej cieľ nie je žiadna dramatická tragédia, ale obyčajná, pokojná staroba: „Dois velhos felizes de mãos dadas numa tarde de sol“ (Dvaja šťastní starci ruka v ruke počas slnečného popoludnia). Jednoduché, tvrdohlavé a s refrénom „Te amo“ (Ľúbim ťa), ktorý ti bude znieť v hlave ešte hodiny.

Бразильская певица Ванесса да Мата написала невероятно светлую поп-песню о том, как страшно любить, когда вокруг твердят обратное. Героиня выросла среди чужих шуточек и разочарований («Eu cresci ouvindo anedotas, clichês e chacotas» — «Я выросла, слушая анекдоты, клише и насмешки»). Ей с детства внушали, что открыться чувствам значит проявить слабость («Se entregar seria fraquejar» — «Отдаться чувствам было бы слабостью»). Здесь даже звучит разговорное бразильское слово amasiar (съехаться, жить без штампа в паспорте). Люди боятся любви, но хуже всего не проиграть, а опустить руки («Mas o pior não é não conseguir, é desistir de tentar» — «Но хуже всего не потерпеть неудачу, а перестать пытаться»). И она выбирает попытку, просто повторяя искреннее: «Te amo» («Люблю тебя»).

Да, страхи не исчезают по щелчку: что, если время изменит партнера («E um dia eu te olhar e não te reconhecer» — «И однажды я посмотрю на тебя и не узнаю») или роман просто рассыплется? Ответ на это Ванесса находит в искусстве. Она сравнивает пару со знаменитым золотым шедевром австрийского художника: «Mas nós somos um quadro de Klimt, 'O Beijo' para sempre fagulhando em cores» («Но мы — картина Климта, 'Поцелуй', вечно искрящийся красками»). Этот смелый образ побеждает все сомнения. Финал трека обещает очень земное и уютное счастье вопреки годам: двое счастливых стариков держатся за руки солнечным днем («Dois velhos felizes de mãos dadas numa tarde de sol»).

Piesa asta a artistei braziliene Vanessa da Mata e un manifest direct împotriva cinismului. În versuri, ea recunoaște că a crescut înconjurată de glume proaste și descurajări despre viața în doi: „Eu cresci ouvindo anedotas / Clichês e chacotas” („Am crescut auzind anecdote / Clișee și batjocuri”). În cultura populară braziliană, verbul amasiar din versul „Sobre amasiar, se casar” („Despre a trăi în concubinaj, a te căsători”) înseamnă colocvial să stai cu cineva fără acte, o alegere privită des cu suspiciune sau bârfită. Vanessa respinge ideea că a iubi înseamnă slăbiciune („Se entregar seria fraquejar” - „A te dărui ar fi o slăbiciune”) și subliniază un adevăr simplu: cel mai rău lucru nu e să dai greș, ci să renunți fără să încerci.

Sigur, frica de trecerea timpului apare în mod firesc, dar răspunsul ei vizual e spectaculos. Când cântă „nós somos um quadro de Klimt / 'O Beijo' para sempre fagulhando em cores” („suntem un tablou de Klimt / 'Sărutul' scânteind pentru totdeauna în culori”), ea aduce direct în pop celebra pictură a lui Gustav Klimt, plină de foiță de aur și forme aurii. În loc să se teamă de bătrânețe, își imaginează finalul ideal: doi bătrâni fericiți, de mână, într-o după-amiază însorită („Dois velhos felizes / De mãos dadas numa tarde de sol”). Refrenul repetă direct și fără ocolișuri „Te amo” („Te iubesc”), transformând piesa într-o alegere curajoasă de a merge până la capăt.

A brazil énekesnő, Vanessa da Mata a Te Amo című dalban egyenesen nevet a cinikusok képébe. Elmeséli, hogy felnőve folyamatosan rossz vicceket és gúnyolódást hallgatott a házasságról és az együttélésről: „Eu cresci ouvindo anedotas / Clichês e chacotas / Frustrações / Sobre amasiar, se casar” (Úgy nőttem fel, hogy vicceket, közhelyeket, gúnyolódást és frusztrációkat hallgattam az együttélésről, a házasságról). Figyeld meg az amasiar szót: ez a brazil hétköznapi nyelvben a papírok nélküli élettársi viszonyt jelenti, és a környezete szerint a szerelem átadása gyengeség volt („Se entregar seria fraquejar”). Ő viszont azt mondja, a legrosszabb nem az, ha kudarcot vallasz, hanem ha meg sem próbálod.

A szöveg nem tagadja az idő múlását, sőt felhozza a legijesztőbb kétségeket is: mi van, ha elszáll az idő, és rá sem ismer a másikra? De a válasza erre egy csodás művészeti hasonlat: „nós somos um quadro de Klimt / 'O Beijo' para sempre fagulhando em cores” (egy Klimt-festmény vagyunk, 'A csók', ami örökké színekben szikrázik). Gustav Klimt híres aranyozott remekművét hívja segítségül, hogy megmutassa, hogyan dacolnak mindennel. A célja nem valami elérhetetlen tündérmese, hanem egy nagyon is meghitt, egyszerű kép: két boldog öregember egy napsütéses délutánon, kézen fogva („Dois velhos felizes / De mãos dadas numa tarde de sol”).

Znaš one ljude koji stalno mrače o vezama i ponavljaju kako je brak zamka? Brazilska pevačica Vanessa da Mata u ovoj pop numeri direktno odgovara takvima. Peva kako je odrasla slušajući šale, klišee i ruganja o zajedničkom životu: Eu cresci ouvindo anedotas / Clichês e chacotas (Odrasla sam slušajući anegdote / Klišee i podsmehe). Zanimljiva reč ovde je amasiar (Sobre amasiar, se casar – O vanbračnom zajedničkom životu, o braku), brazilski izraz koji opušteno opisuje kada dvoje prosto žive zajedno bez papira. Mnogi su je ubeđivali da je emotivno vezivanje zapravo slabost (Se entregar seria fraquejar – Predati se značilo bi pokazati slabost), ali ona to odbacuje: najgora stvar nije ne uspeti, nego odustati od pokušaja.

Umesto cinizma, Vanessa bira otvorenu romantiku koja ne beži od straha da godine mogu izbledeti strast (E se o tempo levar você – A ako vreme odnese tebe). Njena reakcija na taj strah je pravo malo remek-delo poređenja. Kaže da su njih dvoje kao čuvena slika Gustava Klimta: 'O Beijo' para sempre fagulhando em cores (Poljubac koji zauvek varniči u bojama). Reč je, naravno, o Klimtovom remek-delu „Poljubac”, a Vanessa zamišlja da će njihova ljubav izdržati sve dok ne postanu dois velhos felizes (dvoje srećnih staraca) koji se drže za ruke na popodnevnom suncu. Na kraju se sve svodi na jednostavnu, ponavljanu mantru: Te amo (Volim te).