Maria Ilva Biolcati, said Milva and rechristened the Panther of Goro to complete the "zoological three of a kind" that it impassioned Italy of the epoch (together with Mine, says alias the Tigress of Cremona and Iva Zanicchi Aquila of Ligonchio), it begins soon his/her melodious career.
Been born in a small country on the delta of the Po, in the province of Ferrara (Goro, note), the 17 July of 1939, it studies song to Bologna, where it moves him to 1955 with the family; initially it exhibits him in the nighttime places with the stage name of Sabrina.
In 1959 it wins a contest for new bawls indetto from the RAI and, in 1960, in the environments of the song he starts to talk of her to admiration. It to the festival of Sanremo in 1961 where third arrives with the song "The sea in the drawer", passage in which it has the opportunity of revealing his/her exceptional vocal dowries. Speaking of that edition of the Festival, it is by now to the chronicles the gestaccio of retaliation addressed her by Betty Curtis, that was placed better. The year later, Milva will be protagonist of another episode of chronicle related to the Festival and legacy to his/her
ssed entry in the terna of the winners (entry taken for granted from the whole specialized press of the period); disattesa this expectation, in fact, disappointed for the missed success, Milva he will allow to go to rash declarations as that in which it swore that you/he/she would not have been anymore on the stage of the Ariston, thing that punctually it didn't happen instead, (for the joy of the fanses). Rather it will be fixed guest for the following ten years.
In 1961 you/he/she is signalled by the record criticism as "singer of the year". Always in 1961 it to the cinema with the film "You beauty of Ippolita", beside Gina Lollobrigida. Also in this case, the chronicles are instigated for the, justified, spites of the redhead of Goro. All in fact they spoke of the black stockings to net and of the pens of ostrich of the Lollo, without my citharas the contribution of Milva. Here then a "uproar" of declarations, of denials and cos? street.
In 1962 it undertakes his/her first tour to the foreign countries, a great deal flattering, both in terms of criticism and of public. Success is such that you/he/she is entertained to the "Olimpia" of Paris.
In that years famous it is the rivalry, above all climbed on to art by the newspapers, with the other two primedonne of the Italian song: Mine and Ornella Vanoni. Of however, some "blow and answer" artistic they allow to glimpse in controluce one some form of competition. For instance, if the Vanoni were usual to sing histories of desperation to background malavitoso, also Milva he doesn't allow to escape the occasion to tune up songs of liberty, histories of life lived proletarian or passages drawn by the repertoire folk (often in couple with Arnoldo Foŕ). Besides it faces texts inferred by the patrimony of the spiritualses in Afro-american style, gospels of strong social intonation and religious and songs of protest, in which the text also assumes a precise meaning of claim politics, and existential.
On the newspapers, for?, are the wickedness on its account wasted: someone will come to sustain that the diva has thought an intervention of plastic surgery to make himself/herself/themselves reduce the dimensions of his/her great mouth!
In 1965 it begins to work in the theater with George Strehler, becoming with the time one of t
Olimpia" of Paris.
In that years famous it is the rivalry, above all climbed on to art by the newspapers, with the other two primedonne of the Italian song: Mine and Ornella Vanoni. Of however, some "blow and answer" artistic they allow to glimpse in controluce one some form of competition. For instance, if the Vanoni were usual to sing histories of desperation to background malavitoso, also Milva he doesn't allow to escape the occasion to tune up songs of liberty, histories of life lived proletarian or passages drawn by the repertoire folk (often in couple with Arnoldo Foŕ). Besides it faces texts inferred by the patrimony of the spiritualses in Afro-american style, gospels of strong social intonation and religious and songs of protest, in which the text also assumes a precise meaning of claim politics, and existential.
On the newspapers, for?, are the wickedness on its account wasted: someone will come to sustain that the diva has thought an intervention of plastic surgery to make himself/herself/themselves reduce the dimensions of his/her great mouth!
In 1965 it begins to work in the theater with George Strehler, becoming with the time one of the most accredited interpreters of the repertoire brechtiano, difficult finishing line a great deal for an Italian artist, seen for a long time the relationship of election that the German singers they had with this repertoire. Yet, Milva not only succeeds in the difficult enterprise to make to be appreciated in Germany, but also to become a point of reference, supplanting others, apparently more accredited interpreters. The first record incision, that enacts the debut of a long and bright artistic career, is already symbolic and reveals a precise choice "of tendency": it deals with a passage of extraordinary intensity and suggestion that it belongs to the glorious patrimony of Edith Piaf, symbol of the French national identity or rather the Italian version of "Milord", written by the great pianist Marguerite Monnot on the mole-realistic verses of Georges Moustaki
Milva for? you/he/she has never lost the contacts with the vast and less elitist public of the television. It doesn't disdain in fact to appear in the most popular shows for the small screen, bewitching to every apparition the uncultivated ones as the most sophisticated connoisseurs. Gradually, for?, does Milva estrange from the repertoire of the light music to bathe more always himself/herself/themselves in the exploration of scores "of niche", tied up in particolar way to the theatrical experience. They are born in this way his most famous and appreciated disks, diffused as always in the more one "cultured" and prepared Germany. Sandro Bolchi will write, speaking of his/her voice that: "he/she remembers the thunder, with his/her black colors and funds, that evoke the night". In 1967, to the Small Theater in Milan, Milva with the recital "Me, Bertolt Brecht", beside Strehler, director and actor, guide and protagonist.
The following year sees her/it busy in a new, difficult test, that confirms the ductility of its artistic character and its ability to stir with boldness and elegance in an ample horizon of son-in-laws and expressive forms.
But, in the '73, another decisive event consumes him for the artistic and professional maturation of Milva: the memorable preparation of the "Work from three money" of Brecht, due to the inventive genius of Strehler, for a long time careful to the exploitation and t
