Acordes de um Brasil frio
A capital portenha se encontrou neste fim de semana com um Brasil que não corresponde ao cartão-postal a que está habituada. Nada de praia, calor, alegria e Carnaval. Mas sim um Brasil mais próximo a suas próprias características, a melancolia, o frio e a milonga.
O escritor, cantor e compositor gaúcho Vítor Ramil, 49, fez três shows no café Vinilo, em Palermo. Precursor da chamada “estética do frio”, ideia de que as temperaturas baixas não compõem apenas um conceito climático, mas designam uma região que tem uma cultura comum e que engloba o Sul do Brasil e o Rio da Prata, o artista tem trabalhado nos últimos meses em Buenos Aires, na gravação de um novo álbum (“Foi no Mês que Vem”) e num songbook, que de certa forma comemorarão seus 30 anos de carreira. Para custear as gravações, Ramil está usando um sistema de “crowdfunding”, em que o público participa da produção e recebe o resultado antecipadamente. Mais informações estão em www.vitorramil.com.br.
O concerto teve algumas de suas novas canções, além de faixas do mais recente trabalho, “Délibáb” (2010), que reuniu poemas do escritor argentino Jorge Luis Borges (1899-1986) e do gaúcho João da Cunha Vargas (1900-1980), poeta do Alegrete (RS).
O álbum encontrou uma casa perfeita na fria noite de sábado portenha, para um público solene e acolhedor, composto por argentinos, brasileiros e uruguaios. Os poemas de Borges, tirados do livro “Para las Seis Cuerdas”, tratam de temas da Buenos Aires dos arrabaldes. Figura com destaque o “compadrito”, uma mistura de “gaucho” do interior com imigrante europeu ou mesmo negro, representante de certa filosofia popular.
Do lado de Cunha Vargas, está a essência do gaúcho brasileiro, mais doce que o da região do Prata, porém não menos melancólico. A bela interpretação de “Deixando o Pago”, sobre um homem que conta como é deixar a pampa onde nascera, foi um dos pontos altos da noite, com seu glossário tão particular e poético, estranho para alguém que nasceu um pouco mais ao norte do país.
Também se destacaram sua interpretação de “Doce Segundos de Oscuridad”, uma parceria com o uruguaio Jorge Drexler que já havia sido gravada por este, e “Noite de São João”, com letra do poeta português Fernando Pessoa. Ramil também cantou “Estrela, Estrela”, canção que gravou aos 18, no começo dos anos 80.
Já há alguns anos Ramil desafia o roteiro tradicional da indústria cultural brasileira, preferindo continuar radicado em Pelotas, sua cidade-natal, e não fixar-se no Rio de Janeiro, como outros grandes nomes da MPB. Pelotas é, ainda, a protagonista de seu engenhoso romance “Satolep” (2008), que nasceu da ideia de comentar os antigos casarões da cidade, e dialoga com o trabalho e a vida do escritor Simões Lopes Neto (“Contos Gauchescos”).
Pelas faixas que mostrou no último fim de semana, o trabalho novo de Ramil seguirá olhando para o Sul, contra a corrente da música brasileira, e fazendo uma mistura entre a tradicional MPB e as milongas e outros “sonidos” do Rio da Prata. Buenos Aires o saúda como se estivesse em sua casa. De fato, está.
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Acordes de um Brasil frio | Sylvia Colombo – Folha de S.Paulo – Blogs
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