" data-original-title="" title="">Maria Mendes took the stage with the Macedonian National Jazz Orchestra Big Band, under the expert direction of conductor and arranger Vladimir Nikolov, in a performance that transcended mere entertainment.

The evening at the National Opera and Ballet was not just another concert—it was a gesture of solidarity, a heartfelt offering to a nation in mourning. The fire in the city of Kochani that claimed the lives of many young men and teenagers, had left the audience heavy hearted. The decision to make this event a charity concert, with all proceeds going to the affected families, gave the music a deeper meaning.

From the moment Mendes began singing, it was as if a warm light had entered the hall, lifting the weight of sorrow. Her voice, rich and expressive, carried with it a sense of both longing and hope, drawing the audience into her world. Mendes is known for her extraordinary charisma, captivating not only with her vocal prowess but also with her ability to connect deeply with her audience. Her voice has a unique ability to shift between delicate nuance and sweeping, emotional highs, creating a presence that is impossible to ignore. As she sang, the air seemed to hum with her energy, and it was clear that she wasn't just singing songs; she was offering something personal, a bridge between pain and healing. The Macedonian National Jazz Orchestra Big Band was the perfect accompaniment to Mendes' voice, creating a rich and layered soundscape that elevated every song. The arrangements, carefully crafted by Nikolov, showcased the immense talent of the orchestra while allowing Mendes' voice to soar. The big band was not merely an accompaniment—it was a living, breathing entity that responded to Mendes' vocal cues, pushing the performance to new heights.

The setlist was a masterful blend of traditional fado and jazz, each song carefully arranged to showcase both Mendes' stunning vocal range and the orchestra's lush instrumentation. "H�� Uma M��sica do Povo" featured Gordan Spasovski's delicate piano work, further deepening the emotional impact of the evening. "Tudo Isto ? Fado," with Senad Usein's warm flugelhorn solo, was a reminder of how deeply fado and jazz can intertwine, both genres carrying the weight of emotion and storytelling. Before she sang, she would address the audience, talk with them, introduce the songs, mention the composers and arrangers, or thank the orchestra's soloists, including the contributions of Nikolov, whose arrangements were key in bringing the evening's music to life. Her words were always thoughtful, providing insight into the world behind the music and allowing the audience to feel even more connected to the performance.

As the evening progressed, Mendes moved seamlessly between traditional Portuguese songs and her own compositions. "Dan?a do Amor" introduced a more playful, rhythmically intricate side of her artistry, with Ivan Ivanov's soprano sax adding a layer of sophistication. The traditional "Quando Eu Era Pequenina" saw Viktor Filipovski's dynamic drumming and Kiril Kuzmanov's expressive alto sax lead the orchestra into a mesmerizing groove.

A special highlight of the night was "Hermeto's Fado for Maria," a composition by the legendary Brazilian musician