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Conchita Supervia - (1895-1936) mezzo-soprano

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Music : Classical : Lossless
 
Conchita Supervia (1895 - 1936), a magnetic
personality as well as a great singer, was the kind of artist around whose name legends gather. For example, for a long
while no one could believe that a singer who made her debut (admittedly, in a small part in Cesar Stiattesi's long
forgotten Blancn de Bemtlieu, but in the large and famous Colon Opera House of Buenos Aires) could possibly have done so
two months before her fifteenth birthday; but it was true. That was on October 1st, 1910; and her Barcelona birth
certificate records her birth in that city as having occurred on December 9th, 1895. Later in the month of her debut she
appeared in small parts in Breton's zarzuela, Los amantes de Teruel, in Ruperto Chapi's Circe, and as Lola in Cavalleria
rusticana.
Her South American success must have been immediate and rapid, for by late 1911 she was already singing
Octavian in the Rome premiere of Der Rosenkavalier. She was therefore just under sixteen when she made this important
appearance in one of Italy's leading opera houses. Now, Octavian is supposed to be just over seventeen ('seventeen years
and two months' says the meticulous Sophie von Faninal, who has just looked him up in the Austrian peerage); and we may
doubt whether there has ever been another occasion when the singer of this role was actually younger than the fictional
character. Within another year or so Supervia was singing such decidedly mature roles as Carmen, Ortrud and Dalila; and
on 10 April 1912 she made her debut at the Liceo in Barcelona as the heroine of Saint-Saens' opera.
Of course it
was neither in Strauss nor in Humperdinck that Supervia was to become internationally famous; it was in Rossini. This
part of her career seems to have taken off in the 1920s in Turin, where she first sang her celebrated Cenerentola under
Tullio Serafin at the Teatro Regio, following it a few years later with the Isabella of the long neglected Italiana in
Algeri under Vittorio Gui at the inauguration of the Teatro di Torino. She used also, though less frequently, to sing
the Barbiere in the original mezzo-soprano version, which was in those days rarely heard. These Cenerentola and Italiana
revivals became so famous that they began to be given, with Supervia and the rest of the cast more or less intact,
throughout Italy and elsewhere in Europe. In 1929 both operas were highly successful in Paris, and in 1933 La
Cenerentola was included in the programme of the first 'Maggio Musicale' at Florence. In 1934 it reached London, and was
repeated in 1935 together with the Italiana. No doubt Covent Garden would have heard much more of Supervia's Rossini and
of her other roles but for her untimely death in 1936, at the age of forty.
For these Rossini operas Supervia had a
formidable array of qualities. To begin with the voice itself, she had the necessary colour and range: a genuine
mezzo-soprano of more than two octaves, from low G to high B. Then there was her remarkable agility: she could
sing
scales, arpeggios and the most elaborate roulades, without turning a hair. We should not claim too much for her florid
technique. Her scales were by no means Melba-like; they were helped along by a few intrusive aspirates; and in much of
her coloratura work there is a Spanish vehemence and roughness that would perhaps have dismayed Rossini and his
contemporaries.
In his day, tonal beauty and perfect smoothness of emission were regarded as the prime vocal
virtues (as indeed they are); and he might at first have dismissed some of Supervia's roulades as coarse and provincial.
I say 'at first', because she possessed in abundance other qualities which he must soon have found irresistible. Himself
the wittiest and most sociable of men, and eminently susceptible to feminine charm, he could hardly have failed to
surrender to her beauty, her brimming vitality, her infectious sense of fun and mischief. Both on the opera stage and on
the concert platform she displayed a communicative power which can hardly have been surpassed; and this warmth of
temperament is evident in almost every one of the 200 or so recordings that she made.
She was incapable of
dullness; even in the most trivial song there will come a phrase so personal and so completely genuine that the listener
feels something akin to physical contact. In whatever language she sang - and she was a gifted linguist - she filled
each word with meaning, and lent the utmost grace and point to the turn of every musical phrase. Her moods and the
colour of her tone would change with lightning rapidity; her sense of rhythm often gave a fascinating outline and
precision to passages that seem quite ordinary in the score. No singer has conveyed a more infectious enjoyment of the
sheer act of singing.
An intensely Spanish element in her style that has given rise to much discussion is the
passionate, rapidly beating vibrato that often (but by no means always) characterizes her singing. But this vibrato is
quite another thing from the usual tremolo or wobble caused by faulty breathing and physical insecurity. There is never
anything insecure about Supervia. She has full control over her vocal resources, and, like a violinist, uses more or
less vibrato at will; there are gentle songs from which she excludes it almost completely; and if she sometimes uses
rather more than we care for, it is because she came from a country in which a calm and virginal purity of tone is not
particularly admired for its own sake. If we wonder that such a background and style allowed her to excel in the
essentially Italian and highly civilized music of Rossini, we should remember that Colbran and Malibran and
Viardot-Garcia were also Spaniards, and were sometimes criticized for the roughness of their execution and the
unevenness of their scale.
It was inevitable that a singer of these gifts should tackle Carmen; and this was to
become Supervia's most famous role outside Rossini. It was much admired in Paris in 1930; and the recordings made in
that year with the Opera Comique cast are of superb quality. One of the French critics who most admired her suggested
that she seemed almost too good-natured for the character: a flirtatious tease rather than a femme fatale; and it is
true that five years later at Covent Garden, her Carmen made nothing like the impact that is conveyed on her records of
the music. It is probable that on this occasion she did not do herself justice; the previous year there had been a
battle royal between herself and the management over the order in which Carmen and La Cenerentola should be given, if
damage to her voice was to be avoided; all sorts of people, including Emma Calve herself, weighed in on Supervia's side,
and the management had to yield. Perhaps the memory of this struggle prevented a perfect sympathy between the singer and
the conductor, Sir Thomas Beecham, who was also joint artistic director of Covent Garden at the time. Moreover, the
dimensions of the Opera Comique would have better suited the size of her voice.
During the first war Conchita
Supervia fell in love with an Italian lawyer named Francesco Santamaria, by whom she had a son named Giorgio (the
'Giorgino' of a famous little set of recorded nursery songs recorded in 1929 with her own spoken introductions). In 1931
she married Ben Rubenstein and settled in London. Her death, in childbirth, on 30 March, 1936, struck her numerous
admirers as a distressing and unnecessary accident.

This torrent consists of following disks:
1.
Conchita Supervia - Preiser Records 89023 (1995)
2. Conchita Supervia in Opera and Song - Pearl GEMM CD 9191
(1996)
3. Conchita Supervia - Volume II - Spanish Song - Pearl GEMM CD 9165 (1999)
4. Conchita Supervia
Songbook - Pearl GEM 0184 (2002)
5. Arte Del Canto 7 - Conchita Supervia (2CD) (2000)
6. Superviva In Opera
and Song - Prima Voce NI 7836/7 (2CD) (1992)
                                                             

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