![]() Rather than repurpose the music that Jobim had written for de Moraes’ play, Camus commissioned some new music from the composer, which included the classic song “Felicidade” the director also featured two songs by another rising Brazilian singer/composer, Luis Bonfá, one of which was “Manhã de Carnaval,” which like “Felicidade” became one of the cornerstones of the burgeoning bossa nova movement. His play proved profoundly influential, inspiring the 1959 award-winning movie Black Orpheus, filmed by the French director Marcel Camus using Black Brazilian actors. De Moraes reworked the ancient Greek legend of Orpheus and Eurydice, transplanting the action to a Rio favela during carnival time. (He also embarked on a career as a singer/songwriter in the 1960s). He had risen to fame in Brazil as the composer of music for a 1956 play called Musicas De Orfeu Da Conceição, written by the Rio-born poet and playwright Vinicius de Moraes, who crucially, would go on to become one of Jobim’s most important collaborators. One of its key architects was Antônio Carlos “Tom” Jobim (1927-1994), a classically-trained Rio De Janeiro-born pianist who also played the guitar, sang, and wrote songs. The birth of Bossa Novaīossa nova’s story really began in 1956. Many musicians – particularly jazz ones – were attracted by the music’s delicate melodies, lush harmonies, and slinky syncopation, and began recording authentic Brazilian material as well as reconfiguring standard songs using bossa nova-influenced rhythms. After the phenomenal success of “The Girl From Ipanema,” bossa nova fever gripped the US.
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