Madredeus Employs Synthesized Sound

The irony was inescapable at the opening of Madredeus’ concert Saturday at Veterans Wadsworth Theater. The highly praised Portuguese ensemble, appearing with a new instrumental lineup that abandons the accordion and cello so vital to its earlier sound, was unable to start the program on time because of technical problems with its keyboard synthesizer.

A year ago, when Madredeus’ first Southland appearance generated waves of enthusiasm, the technical problem would have had far less effect. The instrumentation at that time, with its attractive integration of guitar, cello and accordion with the elegant voice of singer Teresa Salgueiro, employed keyboard synthesizer only for supportive textures.

But the new edition of Madredeus, which will not be heard on recordings until next year’s U.S. release of its latest album, “Paraiso,” has been reduced to a lineup of voice, two classical guitars, bass and keyboard. The result is music that focuses the spotlight on Salgueiro and makes strong use of that synthesizer.

The increased presence of Salgueiro was a plus, with her central role in the new music more reminiscent of traditional fado. Her remarkable voice has become an extraordinarily pliable instrument, capable of moving easily from saudade-filled passion to bell-like high notes.

But the more expensive price paid for the new approach, which was generated by guitarist and leader Pedro Ayres Magalhaes, was the loss of one of world music’s most extraordinary sounds. And by presenting a program focusing on songs not yet available to American audiences, Magalhaes made it difficult for a highly receptive audience to make a connection between the old and the new Madredeus.