The grave, which had fallen into disrepair, was refurbished by a group of admirers and re-consecrated in October 2006. She made her stage debut in 1910 at the young age of 15 at the Teatro Colón, Buenos Aires, Argentina in Cesare Stiattesi's Blanca de Beaulieu. Then she sang in Tomás Bretón's Los Amantes de Teruel and as Lola in Pietro Mascagni's Cavalleria rusticana. In 1911 she sang the role of Octavian in the first Italian language production of Richard Strauss's Der Rosenkavalier at the Teatro Constanzi in Rome. In 1912 she appeared as Carmen at the Gran Teatre del Liceu in her native city, a role with which she would be associated for the rest of her career. She made her American debut in 1915 as Charlotte in Jules Massenet's Werther at the Chicago Opera, where she also sang in Mignon and Carmen. Back in Europe by the end of the First World War she was invited to Rome, where she started the Gioacchino Rossini revival that made her world-famous – as Angelina in La Cenerentola, Isabella in L'italiana in Algeri and Rosina in Il barbiere di Siviglia, in the original keys. All in all, she made more than 200 recordings mostly for the Fonotipia and Odeon labels, featuring not only her famous roles in opera but also a vast song repertory in Catalan, Spanish, French, Italian and English, as well as pieces from zarzuela and even operetta.
(She had appeared in a legendary production of Franz Lehár's Frasquita at the Opéra Comique.) In 1930, she made her London debut at the Queen's Hall. The following year she married a Jewish businessman from London, Ben Rubenstein, and settled there. (She already had a teenage son, George, from a previous association.) Her Covent Garden debut was in 1934 in La Cenerentola and in 1935 she repeated that part, plus L'Italiana in Algeri and Carmen. In 1934, Supervía appeared in the Victor Saville British motion picture Evensong as a singer named Baba L'Etoile, opposite actor Fritz Kortner. She had a powerful chest register linked to a flexible upper voice that could cope easily with florid passages, allied to a musicianship of great individuality and infectious flair.
Her voice is not without its critics; a pronounced vibrato that in the lower part of the voice became almost a machine-gun rattle, ‘as strong as the rattle of ice in a glass, or dice in a box’, in a comment attributed to the British critic, Philip Hope-Wallace. Many who heard her in the flesh have said that this vibrato was more evident on records than on the stage – an example of the microphone exaggerating a singer's faults. In the 1920s Supervía sang at La Scala as Hänsel in Engelbert Humperdinck's Hänsel und Gretel but, strangely, she never sang the Rossini roles or Carmen at La Scala though she sang there in every season until 1929. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply..
show me more