Bidu Sayao 1902-1999

Bidu Sayão (prononcer Sayaon) était une célèbre soprano lyrique brésilienne qui fut l’une des grandes stars du Metropolitan Opera durant la période 1937-1952. 

Fille de Pedro Luiz de Oliveira Sayão et Maria José da Costa Oliveira Sayão, Bidu Sayão, de son vrai nom Balduína Oliveira Sayão, est née à Itaguaí le 11 mai 1902. Itaguaí est une ville brésilienne située sur les rives de l’océan Atlantique, à une cinquantaine de kilomètres au sud-ouest de Rio De Janeiro. Elle a commencé à étudier le chant avec Elena Theodorini, une Roumaine qui vivait alors au Brésil.

Elena l’emmena en Roumanie, où elle poursuivit ses études. Plus tard, elle se rendit à Nice, où elle fut l’élève de Jean de Reszké, célèbre ténor polonais qui l’aida à consolider sa technique vocale. Jean De Reszké (1850-1925), fut l’un des plus grands chanteurs du XIXème siècle. Jules Massenet a écrit son opéra Le Cid pour lui. Il commença sa carrière comme baryton puis comme ténor. Il s’est produit 339 fois au Met de new-York. Il fut l’un des héros de l’opéra italien et français avant de s’imposer en Lohengrin, Walther (des Maîtres chanteurs), Siegfried et Tristan.

Jean de Reszké, immense ténor de la fin du XIXème siècle qui forma notamment Bidu Sayão

Malade, Jean de Reszké mit un terme à ses activités de chanteur en 1904, pour entamer une seconde carrière de pédagogue, se partageant entre Nice (où il mourut en 1925) et Paris. Parmi ses élèves, citons Claire Croiza, Bidu Sayão, Maggie Teyte et Leo Slezak. Notons qu’en 1951, il est personnifié au cinéma par Alan Napier, dans Le Grand Caruso, film biographique de Richard Thorpe.

De 1923 à 1925, à Vichy puis à Nice, Bidu Sayão suivra l’enseignement de ce maître exceptionnel retiré de la scène depuis 1903. Il lui inculquera à la fois la grande technique italienne du chant mais aussi la perfection d’articulation typique de la vieille école française.

Bidu Sayão

Bidu Sayão fit ses débuts en 1926 au Teatro Costanzi de Rome, où elle joua le rôle de Rosina (Le Barbier de Séville).

Durant les années 1920 et le début des années 1930, elle se produisit à Rome, à Paris et en Amérique latine, où les grands chanteurs de l’hémisphère Nord allaient chanter quand leurs théâtres étaient fermés pendant l’été. Durant cette période, elle rencontra l’impresario et politicien marqué à l’extrême gauche, Walter Mocchi (1870-1955) au Teatro Costanzi. La liaison amoureuse qu’ils entamèrent après le décès accidentel en 1928 de l’épouse de Mocchi, la soprano Emma Carelli, directrice du Costanzi, aboutit à leur mariage, mais le couple se sépara rapidement. En 1935, Bidu Sayão épousa le baryton italien Giuseppe Danise (1883-1963). Danise eut le mérite de guider avec confiance sa jeune épouse afin de s’éloigner des rôles de soubrette et d’aborder des personalités vocales plus «dramatiques.»

Le baryton Giuseppe Danise époux de Bidu Sayão
Sayão avec Rose Bampton devant l’affiche
de leur représentation avec
le New York Philharmonic dans
“La Demoiselle Élue” de debussy,

le 16 avril 1936.

En 1930, elle débuta à la Scala de Milan, et l’année suivante, chanta une Juliette resplendissante (Roméo et Juliette) à l’Opéra de Paris. Durant cette même année, elle gagna en popularité après ses débuts à l’Opéra-Comique dans le rôle de Lakmé et devient une des grandes sopranos d’Europe, et plus particulièrement en France et en Italie. Son répertoire comprenait Lucia di Lammermoor, Sonnambula, I puritani, Ariane à Naxos, le rôle-titre de Madame Butterfly et Cecilia dans Il Guarany du compositeur brésilien Antônio Carlos Gomes.

En 1936, Bidu Sayão fit ses débuts aux États-Unis, au Carnegie Hall de New York avec une œuvre de Debussy, La Demoiselle élue. L’orchestre était dirigé par Arturo Toscanini, qui devint l’un de ses plus fervents admirateurs et un ami très proche. 

Elle fit ses débuts au Metropolitan Opera House de New York le 13 février 1937 dans le rôle de Manon de Massenet. Les critiques, dont celle du New-York Times, furent enthousiastes.

Bidu Sayão dans Manon lors de ses débuts au Met de New-York en 1937

Dans les semaines qui suivirent, elle se vit confier le rôle-titre de Traviata, suivi peu après par Mimi de La Bohème. Elle contribua également à faire revivre les opéras de Mozart au Metropolitan Opera en interprétant Zerlina (Don Giovanni) mais surtout Susanna (Les Noces de Figaro) sous la direction de Fritz Busch. Elle a fait partie des stars incontournables du Metropolitan pendant de nombreuses années. Arturo Toscanini qui était son admirateur, parlait d’elle comme de la “piccola brasiliana” signifiant “la petite brésilienne”. Elle chanta au Met douze rôles en treize saisons. Bidu Sayão chanta aussi à l’Opéra de San Francisco et donna d’innombrables récitals de chant. Car, loin de se limiter à l’opéra, elle aborda la mélodie française avec un goût et un style impeccables, sans le moindre accent. Chanteuse favorite du Brésilien Heitor Villa-Lobos, elle collabora avec le compositeur pendant de nombreuses années et enregistra plusieurs de ses compositions, en particulier, l’aria de la Bachianas brasileiras N° 5.

Bidu Sayão à gauche Gilda (Rigoletto); à droite Mimi (la Bohème)
Bidu Sayão à gauche Susanna (Le Nozze di Figaro); à droite Violetta (Traviata)

La fin de la présence au Met de Bidu Sayão coïncida avec l’arrivée d’une nouvelle administration dirigée par le peu accommodant directeur général Rudolf Bing. Ce dernier qui ne jurait que par Verdi, Puccini et Mozart n’aimait pas le répertoire français et s’opposa à la demande de Bidu de se produire dans Pelléas et Mélisande de Debussy. Elle n’a donc plus chanté que dans seulement quatre présentations de La Bohème, dont la dernière, datée du 26 février 1952, fut son adieu au Met. Elle fit deux mois plus tard une dernière représentation américaine, le 23 avril, en tournée, à Boston, dans le rôle de Manon. J’étais fière, dira-t-elle plus tard, «et je ne voulais pas attendre que l’on me demande de partir». Il a été commenté à l’époque que Bidu Sayão avait quitté le Metropolitan au sommet de son art, mais aussi avec un minimum de regrets.

Bidu Sayão et le compositeur brésilien Heitor Villa-Lobos

Dans les années 1950 elle réduit ses activités à l’opéra, se limitant à une activité de récitals. Bidu et son mari, Giuseppe Danise, achetèrent une maison à Lincolnville, au large de la côte du Maine qui lui rappelait la demeure familiale de bord de mer de Botafogo. Ils l’appelèrent Casa Bidu. Ils y passèrent beaucoup de temps ensemble, entrecoupé de visites occasionnelles à New-York. C’est alors qu’une triste nouvelle arriva: le décès d’Arturo Toscanini, en janvier 1957, chez lui à Riverdale, New-York, à l’âge de 89 ans. Il était le mentor, l’admirateur, le conseiller et un partisan inébranlable de Bidu. Cet événement ajouté au décès de sa mère, décidèrent Bidu à mettre un terme à sa carrière. Elle confia à Maria Helena Dutra, dans une interview de décembre 1972 pour le magazine Veja: «Cette décision est également survenue parce que ma mère de 90 ans avait été extrêmement malade; et mon mari se plaignait constamment d’être laissé seul, parce que je menais un style de vie de sans domicile fixe. J’ai alors senti que ma famille devait passer en premier.» Elle donna un concert d’adieu au Carnegie Hall avec le New-York Philharmonic sous la direction du chef belge André Cluytens. Pour la suite, elle a déclaré au New-York Times: «Maintenant, je pouvais fumer, rester tard dans les soirées et même attraper un rhume».

Bidu Sayão et Toscanini (à gauche)

Bidu Sayão aurait joué pour la dernière fois, avant la Seconde Guerre mondiale, à Rio de Janeiro en 1937, bien avant la fin de sa carrière, car là-bas elle aurait été huée pendant une représentation de Pelléas et Mélisande à la Municipalité de Rio. On raconte qu’une cabale aurait été organisée par des supporters de la soprano Gabriella Besanzoni-Lage: ils ne voulaient pas qu’une carioca venue des États-Unis et couverte de lauriers fasse de l’ombre à leur idole. Cela peut sembler ridicule car les deux artistes avaient des voix totalement différentes. Toujours est-il que Bidu fut très marquée par cet échec à domicile et ne chanta plus jamais à Rio.

Bidu Sayão chantant pour la radio brésilienne
Bidu Sayão

En février 1938, Elle chanta pour le couple Roosevelt à la Maison Blanche. Le président lui proposa la citoyenneté américaine, mais elle refusa. Selon elle, «au Brésil je suis née et au Brésil je mourrai», ce qui pourtant ne sera pas le cas.

Bidu Sayão

Après 15 ans passés au Metropolitan Opera, elle donna sa dernière représentation en 1952, choisissant de se retirer alors qu’elle était au sommet de sa forme. Les années suivantes, elle fut invitée pour plusieurs représentations à travers les États-Unis. En 1957, elle décida de se retirer totalement de la scène et enregistra pour la dernière fois en 1961. Après le décès de son mari en 1963, Bidu Sayão mena une vie paisible dans sa propriété du Maine. Elle revint en visite au Brésil pour la dernière fois en 1995, pour un hommage public durant le Carnaval de Rio. À la suite de cette visite, le gouvernement brésilien créa le Concours international de chant Bidu Sayão destiné à promouvoir les talents de jeunes chanteurs d’opéra.

Le 12 mars 1999, après une brève maladie, la soprano Bidu Sayão est décédée d’une pneumonie au Penobscot Bay Medical Center à Rockport, Maine, deux mois avant son 97ème anniversaire. Ses cendres furent dispersées dans la baie, en face de sa maison. Un portrait de Bidu Sayão est exposé dans le hall du Metropolitan Opera à New-York. Sa mort a mis fin à un chapitre des plus remarquables de l’histoire de la musique brésilienne, que Bidu avait si visiblement fait sienne.

Bidu Sayão était de petite taille et avait une voix qui la rendait adaptée aux rôles féminins les plus délicats et gracieux. Parmi les rôles dans lesquels elle s’est le plus distinguée, on peut citer Mimì (La Bohème), Susanna (les Noces de Figaro), Zerlina (Don Giovanni), Violetta (Traviata), Gilda (Rigoletto), Zerbinetta (Ariane à Naxos), et les rôles féminins principaux de Roméo et Juliette de Gounod et Pelléas et Mélisande, le seul opéra de Debussy. 

Bidu Sayão

Bidu Sayão  n’était pas un simple rossignol impavide, comme d’autres sopranos coloratures de son époque. Elle avait un timbre lumineux, une présence dramatique indéniable et une intelligence musicale, une culture et une sensibilité qui lui permettaient d’aborder tous les genres y compris la musique populaire de son pays. Comme sa grande amie, la guitariste et soprano Olga Coelho, comme Elsie Houston (Brésilienne, elle aussi), Bidu Sayao chanta ces mélodies nostalgiques, parfois poignantes, parfois drôlissimes, qui forment le fonds de la musique du Brésil.

Mais qu’est-ce qui a rendu la petite diva si attachante pour les mordus d’opéra? Avec sa modestie habituelle et effacée, Bidu Sayão a résumé de manière saillante et assez succincte son propre talent vocal dans une interview diffusée en 1989 pour la station de radio de New York WQXR: «J’avais quelque chose d’attrayant. Je ne sais pas quoi. La sincérité de mon chant. Je donne mon coeur. Je donne mon âme. Je me donne».

La vie de Bidu Sayão racontée dans une bande dessinée américaine de 1940:

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