Bidú Sayão was a renowned, world-famous opera singer in the midtwentieth century. In his meticulously researched biography Bidú Sayão: Passion and Determination, Denis Allan Daniel provides a fascinating insight into this Brazilian operatic star with never-before-revealed details about her life.
It is stated that "she was not pleased with any biography about her and therefore decided to write her autobiography but this never materialized." This book admirably supplies the definitive biography of this diminutive diva.
The first chapter explains her family background in Rio de Janeiro and how and why she began having singing lessons.
Chapter two deals with the exact date and place of Bidú's birth. Painstaking research eventually discovered a birth certificate to end any conjecture.
The third chapter details her travels abroad, designed to perfect her singing voice and to gain the experience required of singing in operas.
Chapter four concerns her early reviews and triumphs abroad. In 1936, she signs a contract with the Metropolitan Opera. However, when returning to Brazil, she is booed at the Theatro Municipal in Rio de Janeiro. Brazilians, at the time, liked their stars to remain in Brazil and not become "Americanized."
The fifth chapter illustrates the influence of Toscanini and how he supported her in gaining roles at the Met and how she won over the severe New York critics.
Chapter six provides detailed accounts of some of these reviews.
In Jussi Björling, the Swedish tenor, she found her perfect partner for several roles at the Met. The seventh chapter includes more reviews of this highly successful period.
Returning to her private life, chapter eight provides an insight on her two marriages, both with older men, who "resembled my father, helped me with my career and protected me."
The ninth chapter deals with her resentments, grief, and disillusions. In Brazil, she was often unfairly describes as being unpatriotic. The actions taken by the authorities that so upset her are recorded in detail.
Chapter ten concerns her postcareer struggles. In the span of three years, in the 1960s, she lost her second husband and her mother. "I almost died with her. I think I did die a little. It was horrible. The worst time in my life. I had money but no happiness. I began to have heart problems, irregular heartbeats, palpitations and cold sweats." An interesting anecdote about the power of redemption closes the chapter.
The eleventh chapter is about her love for Brazil and her pride of being Brazilian. She once said, "I am a Brazilian from the bottom of my heart and it deeply offends me to hear that I am antipatriotic."
The next chapter covers her vanity, distinctions, and honors. Bidú used whatever vanity she had for the benefit of her art. She felt and acted as a true star should feel and act. The distinctions and honors that she was awarded are listed chronologically.
Chapter thirteen concerns her American citizenship even though she always maintained her Brazilian citizenship.
The next chapter discusses her relationship with Villa-Lobos, whose Bachianas No. 5 was definitively performed by Bidú. This became the greatest world success of both of their careers. It became the best-selling record in the United States of America for two consecutive years.
The fifteenth chapter relates her successful return to Rio to appear as the star of the Beija-Flor samba school parade, at the age of ninety-two!
Her death two years later is described in the next chapter with a full description of her last will and testament. It ends with quotations by Bidú about her life and opera.
In conclusion, the author explains how she had to overcome enormous obstacles and the basic limitation of a fine light soprano voice
