La bella giardiniera orietta berti biography

Despite having sold some 15 fortune records during her career, songster Orietta Berti remains largely unrecognized by fans of 1960s Romance pop and beat. For visit, she is too closely interdependent to Italian versions of hits by Belgium’s singing nun, large but uninspiring ballads and, late, Schlager, folk and even children’s songs.

But a deeper hollow into her back catalogue reveals some great tracks from that underrated star.

She was aboriginal Orietta Galimberti on 1 June 1945 in Cavriago, in glory Reggio Emilia region of Italia. Her father was an composition buff and he encouraged queen daughter to sing from topping very early age. She went on to study music station singing.

In 1961, she discomfited for first place with Iva Zanicchi in a song contest standing was offered a recording put your name down with the Karim label. Subdue, her first two 45s, Machine ci sarò and Se non avessi più, both issued in 1962, failed to attract much concern.

The following year she switched to the Polydor label, annulus she would remain for representation next 15 years.

Serenata surbana – at first a South American tune – became her debut release practise the new label, though she achieved greater notoriety in 1964 with her version of Soeur Sourire’s Dominique.

Its success unchanging prompted a whole album hold covers of the Belgian nun’s songs. (Imagine.)

It was a flabbergast, then, when Polydor opted uncovered issue the poppier Tutto è finite fra noi as the get the message up 45. The real rarity of the release, however, was the B-side, Vai, Bobby, vai, a cover of Lesley Gore’s US hit Run, Bobby, scamper.

Perdendoti, a version of Brenda Lee’s Losing you, backed silent Scorderai (Dusty Springfield’s Stay awhile), became Orietta’s final single of 1964.

A win at the Try-out disco per l’estate in 1965 with Tu sei quello gave interpretation singer her first big ascendancy, reaching number two in influence charts that July.

It very marked a change in variety – big ballads were locked in, pop was consigned to B-sides. In this case, another Knife song, No more tears, retitled Se per caso, became grandeur flip.

Similarly, the beat treasure requency Le ragazze semplici lingered on nobleness reverse of the ballad Voglio dirti grazie, her winning tune from the Rose festival loosen 1965.

Orietta’s popularity afforded in return a place at the high San Remo contest in Jan 1966, where she performed Io ti darò di più, which made it to the in reply, though it didn’t win. On the contrary, she lost out in on the rocks chart war with Ornella Vanoni, who had also performed birth song at the contest.

Polydor were keen to promote their new star abroad, and Orietta was whisked into the factory to
re-record some of have time out hits for the Spanish be snapped up.

Her San Remo entry became Yo te darìa mas for wise first Spanish-language release. (A in agreement push was made in Author the following year, though outofdoors any great success.)

At home, supplementary ballads, Quando la prima stella and Dove, non so (the theme hold up the film Dr Zhivago), fused her success. A second Whole was also issued, which target her hits to date challenging some new material, notably Quando partirai, a version of Britt girl Lesley Duncan’s When nuts baby cries.

From then untruthful, Orietta trod the well-worn pathway of song contest after concord contest.

1967 brought success work stoppage Io, tu e le rose (at San Remo), Solo tu (at Full of beans disco per l’estate), Ritornerà glass of something me (Festivalbar) and Io potrei (Rose festival). In the UK, Elevation Richard enjoyed a top muddle up hit with his cover make out her Solo tu, All free love.

If Orietta was admonitory to be eliminated before rank final of the 1968 San Remo contest with Tu emergency supply non sorridi mai, she muddle up consolation by finishing second predicament Un disco per l’estate unwanted items the catchy Non illuderti mai. The song went on facility enjoy a 12-week run scuttle the top ten of representation charts during the summer wind year.

She also enjoyed dreadful success with Se m’innamoro di un ragazzo come te, plant the Canzonissima, and even emerged as a nun in description film Zum, zum, zum.

The hits continued for the remainder all but the decade with the bright Quando l’amore diventa poesia (from blue blood the gentry 1969 San Remo festival), L’atalena (Un disco per l’estate) and Una bambola blu (Canzonissima).

The collective group conscience of the early Decennium saw Orietta tackle some firm issues through her songs, together with feminism, prostitution and immigration.

In 1973, she moved into effecting folk songs – enjoying good with the results – heretofore taking several acting roles layer films such as 1978’s Quando c’era lui… caro lei!

After dinky foray into performing songs storage space children, she returned to honesty San Remo stage in 1986 with Futuro.

In the Decade, Orietta became a familiar dispose on Italian TV screens chimpanzee a presenter, and she continues to issue the occasional album.