Song No. 148 — Lamento no Morro | Antônio Carlos Jobim & Vinícius de Moraes (1956)

Lamento no Morro was introduced in 1956 by Helim Silveira Neves better known as Roberto Paiva on the album Orfeu da Conceiçao. Originally a play by Vinícius de Moraes that premiered earlier that year, Orfeu da Conceiçao was set to music by Antônio Carlos Jobim who also conducted the 35 piece Grande Orchestra Odeon featuring Roberto Piava on vocals and Luiz Bonfá on guitar. Although Jobim wasn’t Moraes’s first choice, the score for Orfeu da Conceição turned out to be the start of one of the most successful collaborations in Brazilian music.

A year later, french film director Marcel Camus asked Vinícius de Moraes to adapt his play for the screen. The movie Orfeu Negro, released in 1959, got particularly renowned not least because of its soundtrack although none of the original songs from Orfeu da Conceição were selected for the movie. Instead, Jobim and Moraes composed new songs such as A Felicidade and O Nosso Amor, which were featured along with Manhã de Carnaval by Luiz Bonfá and Samba de Orfeu by Antônio Maria and Luiz Bonfá.

Although Se Todos Fossem Iguais a Você became by far the most successful song from Orfeu da Conceiçao, Lamento no Morro enjoyed some notable recordings. Vinícius de Moraes recorded his own version in early 1961 as B-side to Água de Beber, while Luiz Bonfá added his version a year later with Luis Carlos Vinhas on piano, Tião Neto on bass, Édison Machado on drums and Chico Feitosa on percussion.

Selected recordings of Lamento no Morro:

1. Roberto Paiva from the album Orfeu da Conceiçao (1956, Odeon MODB 3056)

Artwork for Orfeu da Conceição by Raimundo Nogueira

2. Bené Nunes from the album Bené Nunes e Seu Piano (1958, Continental LPP 3042)

3. Vinícius de Moraes from the single Água de Beber b/w Lamento no Morro (1961, Philips P-61.070-H) and the album Carnaval da Cidade Maravilhosa – 1961 (1961, Philips P 630.432 L)


4. Lúcio Alves from the album Cantando Depois do Sol (1961, Philips P 630.440 L)


5. Luiz Bonfá from the album O Violão e o Samba (1962, Odeon MOFB 3295)


6. Coral de Ouro Preto from the album Coral de Ouro Preto (1962, Odeon MOFB 3273)

7. Paulo Moura from the album Paulo Moura Quarteto (1969, Equipe EQC 6003)

Artwork for Paulo Moura Quarteto by Sivanir Batista

8. Dóris Monteiro from the album Agora Doris Monteiro (1976, Odeon SMOFB 3933)

Artwork for Agora Doris Monteiro by Noguchi with photographs by Wilton Montenegro

Selected medleys including Lamento no Morro:

1. Ted Moreno from the album Samba que a Vida Escreveu (1960, Continental LPP 3105)


2. Agostinho dos Santos from the album Agostinho dos Santos (1973, Continental SLP 10.118)


Selected recordings of Lamento no Morro originally not issued in Brazil:

1. Vinícius de Moraes, Maria Creuza and Toquinho from the album Vinicius de Moraes en “La Fusa” – con Maria Creuza y Toquinho (1970, Trova [ARG] XT 80002)


Não posso esquecer • O teu olhar • Longe dos olhos meus •  Ai, o meu viver

É te esperar • Pra te dizer adeus • Mulher amada • Destino, destino meu

É madrugada • Sereno dos meus olhos já correu • Não posso esquecer • O teu olhar

Longe dos olhos meus • Ai, o meu viver • É de esperar • Pra te dizer adeus

7 thoughts on “Song No. 148 — Lamento no Morro | Antônio Carlos Jobim & Vinícius de Moraes (1956)

  1. Nice work. Any idea who performed it in the original play? It’s said to have an all black cast, but it would be interesting to know who exactly introduced it to the public first…

  2. Thanks, this particular song was performed near the end, by all, it seems:
    “TODOS (em coro): Não posso esquecer […] sereno dos meus olhos já correu…”

    1. Yes, that must be the moment in the play although the lyrics of the song are a little bit longer but they are basically the same.

  3. You are sharing the vocal versions of the song. There are many instrumental versions. The most memorable is probably Lamento by Nelson Riddle with the super lush arrangements of Claus Ogerman.

    1. Yes, I should add some more versions. I didn’t know the one by Nelson Riddle but it is exquisite as all arrangemments by Ogerman. Thanks.

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