Abstract
Nara Leão, a name immediately associated with bossa nova, though little of her production was really associated with bossa nova during the 1960s. At the beginning of the decade, Nara and some of her colleagues changed the directions of Brazilian popular music by approaching more intellectual artists of theater and cinema as well as sectors of the Brazilian left. They effectively established a new song segment, setting the stage for what would be later called "Brazilian protest song". In this article, we take O canto livre de Nara (her third LP) as a privileged object to understand the way in which the interpreter's vocal gesture seems to converge with certain poetic and political perspectives prevailing in the period.
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