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Antonio Carlos Jobim – Curtain Going Up! Skip to content Curtain Going Up! Film, Opera, Music, Theater, Soccer HomeAbout Me BRAZIL’S FAT LADY CAN’T SING Contact Film Opera Who’s Afraid of Opera? Tag: Antonio Carlos Jobim ‘Once I Loved’ – In Memory and Celebration of Vinicius de Moraes on His 100th Birthday October 9, 2013August 12, 2014Leave a comment Born nearly a century ago, the man known as “The Little Poet” lived la vie de Bohème and wrote the play Orfeu da Conceição, while bringing the sumptuous sounds of bossa nova to the musical forefront Poet and playwright Vinicius de Moraes (bhfazcultura.pbh.gov.br) Saturday, October 19, 2013 marked the centenary of the birth of one of Brazil’s most recognizable and controversial personalities. A talented man of letters, as well as a poet, a composer, musician, performer, and lyricist, Marcus Vinitius [sic] Cruz de Moraes — more widely known as Vinicius de Moraes — was born in Gávea, a suburb of Rio de Janeiro. He earned a law degree in his native city without having to give up his all-consuming interests in music, philosophy, dance, theater, and cinema (in particular, the silent cinema), along with his love for English literature and language, which he studied at Oxford University (1938-41). Upon his return to Brazil, Vinicius began writing film criticism for a Rio daily, in addition to answering letters in an “advice to the lovelorn” column. In line with the above, he also worked as a civil servant, had close encounters with maverick filmmaker Orson Welles and social critic Waldo Frank (1942), both of whom made extended visits to Brazil and were instrumental in increasing his awareness of social causes; published several books of verse; spent quality time in Hollywood (1946-50); and participated in film festivals throughout Europe — all while serving in the Brazilian Foreign Ministry. Vinicius had a weakness for the opposite sex, and was rumored to have married a total of nine times. While in Hollywood, he, along with his first wife Beatriz (nicknamed Tati) and their young daughter Susana, practically resided in Carmen Miranda’s Beverly Hills household. They were close friends until Carmen’s unforeseen demise. Tom Jobim & Vinicius (imovelvip.com.br)   In 1954, on the advice of another poet, Vinicius entered a draft of his play in verse, Orfeu da Conceição, in a writing contest. It won one of the top prizes. On leave from his post with the Foreign Service, Vinicius united with a fledgling composer named Antonio Carlos “Tom” Jobim. Together, the Little Poet and the publicity shy Tom brought Orfeu to the stage of the Teatro Municipal, in Rio, on September 25, 1956. It was the beginning of a beautiful songwriting relationship that resulted in a flurry of classic tunes, among them “Chega de saudade” (“No More Blues”), “The Girl from Ipanema,” “Once I Loved,” “How Insensitive,” “One Note Samba,” “Se todos fossem iguais a você” (“Someone to Light Up My Life”), and many more. In 1962, Vinicius, with the presence of Jobim and the young João Gilberto, made his singing debut at the Au Bon Gourmet nightclub in Rio. From there on, the Little Poet followed the performing path, later teaming up with a new partner, Toquinho, from the 1970s up until his death in July 1980. The release and popularization of the film Black Orpheus (1959), produced by Sacha Gordine and directed by Marcel Camus, and the subsequent worldwide acclaim it garnered (including the Palme d’Or at Cannes, and the Oscar™ for Best Foreign Film) brought renewed focus on Brazil — especially on Vinicius’ subsequent work, which numbered some 400 songs, many of them with the top talents of the day: Jobim, Pixinguinha, Baden Powell, Carlos Lyra, Ary Barroso, Chico Buarque, and Toquinho. Vinicius and Toquinho Orpheus, the Myth and the Man Notwithstanding these myriad activities, Vinicius’ serious side was reflected in Orfeu da Conceição, in which he expressed outright concern for the poor and disadvantaged. But why did he choose this particular subject to dramatize? To put it simply, the Orpheus legend happened to be one of those recurring motifs that have managed, in both theory and practice, to adapt themselves rather easily to other media — most opportunely to the operatic, cinematic, and theatrical art forms. For starters, such foreign-born dramatists as Oskar Kokoschka, Jean Anouilh, and Jean Cocteau, along with their American counterpart, playwright Tennessee Williams, all drew inspiration from his mythological fable, with varying degrees of success. Until Black Orpheus made its initial worldwide impact in 1959-60, French poet and filmmaker Jean Cocteau‘s pairing of Orphée (1949) with his later The Testament of Orpheus (1960) had previously blazed the cinematic trail, while Sidney Lumet‘s The Fugitive Kind (1959)

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