what becomes a legend
Sempiternal Magda Olivero celebrated her 99th birthday earlier this week.
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Jesus H Christ on a cracker!
That woman is orsum!
Wonderful, just wonderful. She speaks such beautiful, elegant Italian! When I attended her first performance of Tosca at the Met (C. 1973), I learned never to underestimate an artist because of his or her age.
Many thanks, LaC
You just gotta love Magda!!!
Maybe she could sub for some of the indisposed sopranos at the Met?
Haapy Birthday top Magda and many more. Must run and get down her Fedora, and play it in celebration.
She could cover for Kiri in Fille du Regiment – and probably do a better job
¡ Adriana !
99 years young! Fantastic – What clarity in her memories of her illustrious career. Brava Magda.
Happy Birthday Magda!
I saw her singing Tosca at age 69! Phenomenal! Pavarotti was her Cavaradossi.
Isn’t Simionato almost as old?
Note a propos rehearsals that Olivero says she debuted (age 65) in Tosca at the Met without any rehearsal whatsoever, not knowing the production, the tenor, the conductor or even the theatre. She then had a 40 minute ovation….
I am so glad to see this. I have always loved Magda and have nothing but the greatest respect for this great artist. To be so lucid at this age is marvelous, such wealth of knowledge and memories!
Manou (#11)
In Act II, it was obvious that Olivero had had no rehearsal. At one point, she disappeared behind a sofa, and she and the conductor couldn’t see one another. The “Vissi d’arte” was really touch-and-go. In Act III, however, she was sensational. Her high C (or is it a C-sharp?) in the “Trionfa” duet was brilliant, and the rest of the act continued as though she had directed the show.
RE: the 40-minute ovation. The house was full of Olivero fans from Texas, wearing pastel-colored gabardine suits with bell-bottomed trousers. I was told they chartered jets to come to the performance. They certainly were noisy.
Amnerees (13)
She did say that the ovation was not normal applause, but really a sign of affection, a way of saying “we had been waiting for you all this time”.
Not many singers can say that a composer asked them to come out of retirement to sing a role he composed because he thought no one could do it better and wanted to hear her sing it one more time. Speaks volumes of this woman’s Adriana!
Great artist. Happy Birthday.
dyby (15)
Isn’t Dessay in constant communication with Bellini?
Thank You so much for posting this. Olivero is the queen, and she’s gonna make 100.
Dessay can’t get the phone out of Treb’s hand. Trebs is talking to Donizetti.
I am going to feel soooooo bad when this woman finally passes on!!!
Manou,
Correcion: Tosca’s high C comes earlier in Act III: “Io quella LA—ma gli planta,” not in the “Trionfa” duet. Ma scusi. I repeat: Olivero nailed it brilliantly. And her apostrophe to Scarpia in the final moments was amazing.
The one and only Magda Olivero. A true legend.
I agree. Let’s have her waiting in the wings when Matilla sings Tosca next season. We can roll out Magda and have the first wheelchair Tosca!
How would she do the jump at the end, though? Hmmmm….
A great artist.
A great inspiration.
A great revelation.
13: That’s the best thing I’ve ever heard about Texas.
I honor them for it. (And, if they love Magda, they can wear whatever tacky kind of suits they desire.)
“I am going to feel soooooo bad when this woman finally passes on!!!”
Relax, CasualOpera Fan. You may go first.
Blessed be thou o wonderful La Cieca for bringing this wonderful clip into my heart.
Magda Olivero is a unique and very special lady who is still feisty, youthful, and delightful.
She has added so much drama to the world of opera that we should all be eternally grateful.
May she continue on so that we can enjoy her still a little bit longer.
Regina delle fate. Regarding Simionato I think you are right that she lasted nearly as long. I saw a delightful video some years ago taken at that famous Italian Verdi Retirement Home for old singers There she was, singing with other old professionals in concert. Her technique was all there, still intact! Villazon: ‘are you listening?’.
The best thing he can do is not listen to some recommended whizz- bang hired coach. First go, visit some of these old greats still alive and let them tell him the hard truths of his voice……away in private. After all it was their voices and how they personally used it, that survived.
Some times one comes across limited rare CDs floating around in record shop ‘bargain bins’ for $2. Things like Michelangeli the pianist in Italian studio made stereo recordings . I came across one of Raina Kavbaivanska, probably then about 70 in an operatic recital. She is also a Professor of Music in Siena. That recording alone: the quality of voice and maintained standards would put many of the current ’stars’ to shame!
How can I thank la Cieca for this, especially after my speaking to her this week….We are filled with emotion at the sight of this MIRACOLO. Here is the tribute I posted Wednesday on my podcast site:
I just made my annual call to the miracle of the vocal art, the great Magda Olivero. She sounds bright and lucid and I reminded her that she speaks “verismo” Italian, which amused her. She is so appreciative of all the attention given to her by fans all over the world and sends personal greetings to all of you. Imagine that next year she will be “cent’anni,” an expression that always signifies good luck! I have added some information from Wikipedia for your further edifcation. Bless this great lady.
Praise be to this lady..She will never be forgotten…ch
THANK YOU LA CIECA….MAGDA…O…MAGDA
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It’s great to see her so vigorous, articulate and so elegant at this age. I was talking with a former tech crew chief for Sarah Caldwell’s Opera Company of Boston yesterday afternoon, going through my archive of Sarah’s productions, and he stopped me at Olivero’s Tosca to say how amazing a performance she gave. This guy’s not an opera queen or even a particularly big opera fan, but he remembers her to this day as a phenomenal performer.
I looked it up, Regina #10, and the great Simionato celebrates her 99th on May 12.
I was also there at Magda’s Met debut. Let me assure you there were plenty of us Met regulars participating in one of the most fantastic ovations ever. If there was some Texas help, we New Yorkers didn’t notice. That night, Magda showed the Met Opera audience what so many others around the world already knew. Magda = One of the GREATEST of all times.
I had the privilege of hearing Signora Olivero in Caracas in 1972 singing Manon Lescaut with Richard Tucker. Unforgettable.
Adding to my commentary.
I was just 21 and backstage with some supernumeraries when Signora Olivero arrived at the theater. We all commented how could that OLD LADY be Manon. Well, not only she was a young girl onstage, she sang like one too and at the end of the opera we were cheering and looking for her autograph… Really amazing singer and actress.
It would be great if both Olivero and Simionato make it to 100. Licia Albanese must be that already! Amazing ladies.
Hmmm. Sigh. What a great lady, great artist. I met Signora Olivero in 1992, at the Francesc Vinas competition in Barcelona. It was a glamourous panel – Dame Joan, Menno Feenstra, Olivero, Friedrich Haider, and a few others. Edita Gruberova invited me to join her in the audience (I was there for her debut as Anna Bolena – a fabulous success). At one point in the break, I approached Signora Olivero. I had observed several people sticking programmes in her face, hardly a word, for a autograph. She was gracious, but I thought the presumptuousness of the star fuckers was rude, to say the least. But…she undoubtedly was used to this, and just obliged, without a word. I spoke to her for about 5 minutes. I told her, in a combination of bad Italian and English, how I regretted never having seen her perform. And mentioned several of her past colleagues who had spoken graciously of her in THE LAST PRIMA DONNAS. She acknowledged every name I mentioned. She could not have been more charming or down to earth. She was impeccably dressed, and her innate dignity was of a kind borne into her. It was interesting watching her as each singer performed. She sat alone, did not schmooze in animated conversation – no exchanged knowing looks with the others. She sat with her clipboard and notes, alone. Most of the time, she did not look up, except only at the beginning of each performer’s aria. To be quite blunt, most of these young singers had not a clue into the music or the style. A good deal of them were mediocre and much worse than that. Here we had one of the most celebrated opera singers, the music, fire, and blood in her soul, intimate understanding of the genre. She must have recognized, none of these singers knew what they were doing. Exposed as she was to the great singers and artists of the past, you wonder how she wondered what the art form had come to. The only singer who caused a stir was an Asian baritone who had a huge voice. He sang “Eri tu” and it recalled the great baritones of the past. But it was all brilliant vocalism – the consensus was, he had the voice, but not the soul.
When that day had finished, I was standing outside, and Signora Olivero, with a friend by her side, walked by, and winked at me conspitorially..and I just melted.
She is the LAST of the really great artist prima donnas. How so cool she’s still around, approaching her century!!
I think it was at the second Spoleto festival in Charleston that MO sang the countess in Pique Dame. She was moving but sounded like a very aged soprano and looked even older. At a party after the performance I noticed a finely dressed, apparently middle-aged woman walk into the reception hall. She had great dignity but nothing “divaish” about her. She was alone and no one can up to her. In epiphany style I realized who she was and went up to congratulate her. She was warm, elegant and friendly. Throughout the evening it seemed few took notice of this great lady and artist. It seemed not to bother her at all.
Several years later, 1978, I think, we were in San Fran. for her Tosca. Frankly, since she was then close to 70, I expected the performance to be of the party record type. Was I ever wrong! She was mesmerizing both vocally and histrionically. Her Vissi d’arte still sits in my head for its directness; no schmaltz, no false drama, she simply stood still and looked at an icon and sang. It was breathtaking. She knew the those most important aspects of theatre, let the audience come to you and stillness.The audience went wild The only other Tosca, of the many I have seen,that I recall with such clarity is Leontyne Price in a performance in the mid-60s with the Met on tour. Viva MO.
Thanks for that, No. 36. You deserved that wink.
@33 I have a tape of that Manon Lescaut in Caracas somewhere; Stefan Zucker played it long ago on his Opera Fanatic radio show. She was extremely moving in the last act, tore your heart out with ‘Sola, Perduto..’ and when the act ended there was a long
pause before the inimitable voce of Stefan Zucker spoke in a hushed tone, “Catharsis, thy name is Magda.” I was lucky enough to see her at her Met debut in Tosca, and also Adriana and Margherita in Mefistofele in Newark. One of a kind, truly stunning singing actress, and a genuine missing link to a true verismo style. Buon Compleanno, Magda!