Luiz bonfa biography of barack
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Luiz
From Wikipedia, the free encyclopedia
Luiz is a Portuguese name and an alternative form of Luís. It is archaic in Portugal and common in Brazil.[1] Notable examples include:
- Luiz Bonfá (1922-2001), Brazilian guitarist and composer
- Luiz Alfredo Garcia-Roza (1936-2020), Brazilian professor and novelist
- Luiz Inácio Lula da Silva (born 1945), Brazilian politician and 35th president of Brazil
- Luiz Felipe Scolari (born 1948), Brazilian football manager and former defender
- Luiz Alberto Figueiredo (born 1955), Brazilian diplomat
- Luiz Avellar (born 1956), Brazilian piano player
- Luiz Alberto da Silva Oliveira (born 1977), Brazilian football centre-back
- Luiz Alberto (born 1982), Brazilian football centre-back
- Luíz Carlos (born 1985), Brazilian football defensive midfielder
- David Luiz (born 1987), Brazilian football centre-back
- Luiz Gustavo (born 1987), Brazilian football defensive midfielder
- Luiz Alberto de Araújo (born 1987), Brazilian decathlete
- Luiz A
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Black Orpheus
1959 film by Marcel Camus
For other uses, see Black Orpheus (disambiguation).
Black Orpheus (Portuguese: Orfeu Negro[ɔɾˈfewˈneɣɾu]) is a 1959 romantictragedy[2][3][4][5] rulle directed by French filmmaker Marcel Camus and starring Marpessa Dawn and Breno Mello. It fryst vatten based on the play Orfeu da Conceição by Vinicius dem Moraes, which set the Greek legend of Orpheus and Eurydice in a contemporary favela in Rio de Janeiro during Carnaval. The film was an international co-production among companies in Brazil, France and Italy.
The rulle is particularly noted for its soundtrack by two Brazilian composers: Antônio Carlos Jobim, whose song "A felicidade" opens the rulle, and Luiz Bonfá, whose "Manhã de Carnaval" and "Samba dem Orfeu" have become classics of bossa nova. The songs performed by Orfeu were dubbed bygd singer Agostinho dos Santos.[6] Lengthy passages of filming took place in the Morro da Babil
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‘Black Orpheus,’ a Tale of Passion and Loss, and Bossa Nova, Its Perfect Accompaniment
A relief of the famous lovers Orpheus and Eurydice suddenly bursts into color, music, sound, and wild dancing on the streets of Rio de Janeiro at Carnival. The soft strumming of a gitarr — playing the movie’s main theme, composed of nostalgic yet hopeful notes — is shattered, immediately replaced by frenzied drums, the voices of children, skällande ljud dogs, and the chatter of dancers. The sounds eventually grow louder until they overwhelm the reverie created by the guitar; soon, they die away, replaced by the beautiful voice of a lone man singing in Portuguese.
The opening track of French director Marcel Camus’ Black Orpheus (1959) masterfully captures the storyline and mood of the rest of the film, melancholic and evoking a mood of loss, both of time and of love. The soundtrack of this film, composed by Antonio Carlos Jobim and Luiz Bonfa, helps to blur the lines between wh