Joan Baez sings 'Manhã de Carnaval'. This song by Brazilian composer Luiz Bonfá and lyricist Antônio Maria for the 1959 film 'Black Orpheus' was first on her 1963 Vanguard album 'Joan Baez In Concert, Part 2'. The song lyrics and English version of the Portuguese are below with some notes on the song.

[CD/30-Images]

Manhã de Carnaval (Singer-Joan Baez)

Ladi, lalala, lalala, ladi lalala, lalala . . .

Manhã tão bonita, manhã
Um dia feliz que chegou
O sol no céu surgiu
E em cada cor brilhou
Voltou o sonho então ao coração

Depois deste dia feliz
Não sei se outro dia haverá
E nossa a manhã, tão bela afinal
Manhã de carnaval

Canta o meu coração, a alegria voltou
Tão feliz a manhã desse amor

Ladi ladala lalala, ladi ladada dadada . . .

Writers - Luiz Bonfá, Antônio Maria
[Lyrics from LyricFind]

English Translation:

Morning so beautiful, morning
A happy day that's arrived
The sun's rose in the sky
And shone in every color
The dream then returned to the heart.

After this happy day
I do not know if there will be another day.
And our morning, so beautiful after all.
Morning of Carnaval.

Sing my heart, joy come back
So happy the love this morning

Wikipedia states:

"Manhã de Carnaval" ("Carnival Morning") is a song by Brazilian composer Luiz Bonfá and lyricist Antônio Maria. "Manhã de Carnaval" appeared as a principal theme in the 1959 Portuguese-language film Orfeu Negro by French director Marcel Camus. The film's soundtrack also included songs by Antônio Carlos Jobim and Vinícius de Moraes, as well as another composition by Bonfá ("Samba de Orfeu"). "Manhã de Carnaval" appears in multiple scenes in the film, including versions sung or hummed by both the principal characters (Orfeu and Euridice), as well as an instrumental version, so that the song has been described as the "main" musical theme of the film. Orfeu Negro was an international success (winning, for example, an Academy Award in 1960), and brought the song to a large audience. "Manhã de Carnaval"' became one of the first Bossa Nova compositions to gain popularity outside Brazil. Particularly in the United States, the song is considered to be one of the most important Brazilian Jazz/Bossa songs that helped establish the Bossa Nova movement in the late 1950s.

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