許多看似平凡無奇的事物總在不經意中消失了。這或許是溫德斯電影中特別喜愛捕捉的東西，就像《里斯本的故事》中，大興土木的里斯本。
錄音師溫特(Winter)追隨著導演好友的腳步來到這個逐漸邁向全球化的大都市，搜集這個都市屬於二十世紀的聲音：鴿群飛過空中的振翅音、婦女浣衣的水聲、當地耆老訴說的故事、電車叮當駛過街頭．．．。

其中，當然不可或缺的，是屬於這個都市的樂音。據說，這部電影是溫德斯先聽到了聖母(Madredeus)合唱團，才構思出整部電影的。Winter初次聽到這個樂團的歌聲的那種驚豔，我想也是所有觀眾的驚豔。

Guitarra

Quando uma guitarra trina (when a guitar chirps)
Nas mãos de um bom tocador (In the hands of a good one tocador)
A própria guitarra ensina (To own guitar teaches)
A cantar seja quem for (To song be who will go)

Eu quero que o meu caixão (I want that my coffin)
Tenha uma forma bizarre (Have a bazaar form)
A forma de um coração (The form of a heart)
A forma de uma guitarra (the form of a guitar)

Guitarra, guitarra querida (Guitar, dear guitar)
Eu venho chorar contigo (I am going to cry with you)
Sinto mais suave a vida (I feel smoother the life)
Quando tu choras comigo (When you cry yourself with me)
（註：我並不懂葡萄牙文，原文後所附的英文翻譯是我用網路上的葡語－英語翻譯找出來的）

根據溫德斯對主唱的描述：Her presence in front of the camera was similar to her concert appearances: she was there for the film, not for herself, just like when Madredeus are playing and you feel that Teresa is not there to attract attention for herself, but to serve the music and the band. [她站在鏡頭前面的樣子，就跟她在演唱會中沒有太大差別：她是為了電影而存在，不是為她自己，就如同當聖母在表演時，你會覺得Teresa並不是為了吸引眾人目光而存在，而是為了替音樂和整個樂團服務]。真的很難想像，如此美麗而氣質出眾的女主唱在唱歌時並不像個「明星」，而只是為音樂服務。但此處場景的處理──全部團員清一色穿著黑衣，在昏暗的室內只有藍色的月光瀰漫──卻是最好的例證。

在這個場景當中，剛抵達里斯本的溫特手上提著大包小包剛採買回來的日常生物所需物品，和每個城市都會有的街貓互看了一眼。讓我想起了不久前永久消失的小狐狸，也是隻三花貓，只在我家樓下生活了一年半。