Dalida in the 1950s

The echo of Dalida's french and international fame must have reached my childhood (specially trough TV appearances) but I was only vaguely aware of her until my first visit to France. Which actually happened BEFORE I started to sail, I was there as a tourist in Nice and heard this beautiful, sensuous voice somewhere on the radio that immediately appealed to me. "Who is this?" I asked struck with a lightning. "Oh" my french friends replied nonchalantly "that's Dalida" like its something clearly understandable. Well, I loved the voice so much without even knowing what this person look like - you can imagine my surprise when I discovered this was a stunning beauty behind the voice, in fact one of the biggest pop music stars of France ever. I have collected her music ever since.

In a nutshell, Dalida was daughter of italian violinist in Cairo's opera house - she was Yolanda Christina Gigliotti back than and Miss Egypt in 1954. Beautiful, beautiful woman she was immediately spotted by french movie directors and moved to Paris to pursue career as actress. From artistic "Dalila" it somehow became "Dalida" and instead acting she started singing, her earliest success connected to newly opened "Olympia" concert hall (famous Bruno Coquatrix was standing behind her as manager) and with professional guidance she blossomed into huge music star.

Dalida's first hit single was cover of Neapolitan song "Guaglione" that became re-titled "Bambino" in french version. It was huge success in 1956. and remains one of the biggest-selling singles in French history. It also pointed at her future success where she would often cover international hits for french market - "Eh ben" was Rosemary Clooney's gentle "Hey there" and the rest of the now historic 4-song EP recording was cute, chirpy 1950s material that obviously appealed to radio listeners who bought it in tons.Her voice was instantly recognizable even back than and had not changed much trough decades.

"La Violetera" was of course huge hit from a spanish movie with Sara Montiel and perfectly suited for exotic image of young Dalida. At this time she was dark haired and promoted as gypsy/spanish/egyptian femme fatale. Her deep, sensual voice was excellent and in my opinion she sings this much better than original spanish version. The rest of the songs were eventually collected on her first album.

Compilation of previously successful singles, "Son Nom Est Dalida" was Dalida's 1956. album that played on her image - songs were vaguely exotic, from spanish, italian and even portuguese background ("Madona" was cover of Amália Rodrigues hit) and here she was singing about Fado, Gypsies and Flamenco It is a very romantic & pleasant european "schlager" music, with young singer sounding already mature and self-assured. It is worlds away from her later 1960s, 1970s and 1980s music and therefore I find it far more interesting.

"Miguel" and "La plus belle du monde" was another successful EP recording (1957) that showed Dalida enthusiastically handling everything from chirpy 1950s ditties to romantic ballads - she was apparently capable of singing absolutely everything that producers would put in front of her. These early recordings were later overshadowed by her future work, but it is a very beautiful 1950s pop music and I marvel at its sophistication.

"Gondolier" (1957) was album overflowing with hits (Petula Clark covered title song as "With all my heart" for UK market or was it the other way around?) - Dalida's magical recordings of "Histoire d'un amour", "Buenas noches mi amor", "Le jour où la pluie viendra" are here, along with happy, chirpy "J' écoute chanter la brise" and "Lazzarelle" (again italian original). Yes,its old-fashioned now but cute reminder what 1950s pop music once was.

"Les gitans" played on Dalida's deep voice and exotic looks for all it was worth. First there was a glamourous album cover with very photogenic star and music was accordingly quasi-spanish, gypsy and whatnot. She covers "Volare" and "Alone" (Petula Clark big 1957.hit), the rest is usual romantic stuff ("Timide sérénade" just one of the many highlights and big hit back than). All of Dalida's 1950s recordings are some of her best work - although it seems she covered a lot of other people's material.

"La Chanson D'Orphée" was another movie theme and one of the best songs on album that brought "Love in Portofino", "Luna Caprese" and "Marina". Again combination of melancholic ballads and upbeat ditties ("Adonis"). "J'Ai Rêvé" was her french cover of "Dream lover" that sounds incredibly cute. Strange to think she was in her mid 20-ies and already huge celebrity, in fact one of the biggest music stars back than.

Petula Clark had a huge hit with "Watch Your Heart" so naturally Dalida covered it for french market as "Guitare Et Tambourin" on the same EP recordings where we can find her "Hava Naguila", "Des Millions De Larmes" and annoying "Amstramgram" where she is backed with something that sounds like kindergarten. Perhaps it was cute back than, but I find children's involvement usually unbearable in any shape or form, no matter who has little children singing behind him.

Only five years earlier Dalida came to Paris as wannabe actress but ended up 1950s as one of the biggest top sellers in music business. Her cover of "Ciao Ciao Bambino" was of course italian original, "Tout L'Amour" was "Passion Flower" and the rest similar covers - "La Fille Aux Pieds Nus" looking as far as Greece for inspiration.
In general I find Dalida's 1950s her prettiest and most romantic period. In the next decade she would jump on too many wagons and occasionally select questionable material but in 1950s she was still excellent.