Discovering Lucille Udovich

Lucille Udovich

So here I was, innocently surfing the Naxos catalog of imported items, when I chanced upon a 1954 live performance of one of my favorite “forgotten” operas, Gasparo Spontini’s Agnese di Hohenstaufen. I recognized most of the names in the cast, but not the Agnese, one Lucille Udovick (sic). I downloaded Agnese’s famous aria, “O Re dei ciel,” and listened to it.

And was absolutely blown away.

Here was a voice with not only steady emission but also power, style, musicianship, feeling, and a silvery sound that cut into the atmosphere like a gleaming sword. It wasn’t just a good voice, it was a great voice, one of those rare voices that not only thrill you but brings tears to your eyes when listening to her.

Who the heck WAS this soprano? And why had I never heard of her before?

It turned out that she was an American of Croatian descent, born in Denver, Colorado in 1930. Her family moved to California where she began studying music, taking up violin, piano and voice at the Community Music School in San Francisco before going East to complete her studies at Columbia University and Hunter College. Upon graduation, she sang in church services and musical comedies, including a role opposite Carol Channing in Gentlemen Prefer Blondes.

In 1953 she went to Italy to complete her vocal studies. On the train to Rome she was discussing singing with another vocalist who, hearing her, urged her to set up an audition with the great Italian tenor Beniamino Gigli, who was looking for a young (and inexpensive) soprano to go on a concert tour with. Gigli hired her on the spot, and the exposure proved a big boost. The following year, in May of 1954, she made her stage debut at the Florence May Festival in that same performance of Agnese di Hohenstaufen with tenor Francesco Albanese, baritone Giangiacomo Guelfi, fellow American soprano Dorothy Dow and a young, up-and-coming Italian tenor named Franco Corelli. Her performance was a sensation.

From that point forward her career took off splendidly. Her voice, large and cutting, could also be pared back to lyric beauty when called for, thus she was hired to sing Elettra in the


Udovich as Abigaille in NABUCCO

1956 Glyndebourne Opera production of Mozart’s Idomeneo with tenor Richard Lewis and conductor John Pritchard. The resulting EMI recording of that production turned out to be her only commercial recording, but in the ensuing years Udovich—whose last name in Italy was often spelled “Udovick” to ensure proper pronunciation, and her first name spelled “Lucilla” to Italianize it—was hired for a number of important performances. Among these were a splendid 1957 performance (in Italian) of Beethoven’s little-known secular cantata Der Glorreiche Augenblick under conductor Hermann Scherchen (click here to listen to her sing the aria), a 1958 performance of Turandot in the title role with a now-big-star Franco Corelli (this performance has been issued on a VAI Video), a 1960 La Gioconda in Buenos Aires with tenor Flaviano Labò, mezzo Mignon Dunn and baritone Aldo Protti, and in 1961 Abigaille as Nabucco in San Francisco opposite the great baritone Ettore Bastianini (who adored singing with her) in the title role. Udovich seemed set to have a humongous career.

But then, little by little at first, she began having back problems which became more severe as time went on. She had to cut back on her performances, generally choosing to sing in concert where she could sit for much of the time. By the early 1970s she simply gave up. She and her sister Ann had been living in Rome since her first Italian successes in the ‘50s, and they now retired there to a small apartment where she was generally forgotten.

But Herbert Burtis, a voice teacher from Sandisfield, Massachusetts (, traveled to Italy in the 1980s. A former pupil of his, now a Sister of St. Joseph from Milton, told Burtis that if he ever got to Rome he simply had to look up Udovich who was a formerly close friend of hers. Burtis wasn’t thrilled about doing so—he had never heard of Udovich and didn’t know what she was like as a person—but he took the plunge and discovered that she was a happy, warm, outgoing woman who loved company and, wonder of wonders, could still sing even though she could barely walk or stand.

Despite this handicap, Burtis insisted that Udovich return to America and sing again, even if sitting down, which she did. She also held some “amazing” master classes in New Jersey and at Harvard. It was a glorious sunset to a career cut short, briefly reviving the name and voice of this superb artist.

Udovich as Turandot

Udovich as Turandot in 1958

It would be nice to say that everyone who heard her was as overcome with joy and awe as I was, and as Herbert Burtis was, but apparently this was not so. Online you can find some pretty awful assessments of her singing from a few people who heard her “live,” and apparently not in good voice. The kindest description I have read, from someone who heard her Elettra in Glyndebourne, was that the voice was “strident.” Less charitable auditors have called her a “screamer,” “a wiry voice that did not thrill on the high notes” and “the ugliest voice…ever heard…like nails on a blackboard.” But surely these are exactly the kind of qualities that recording would exaggerate, not smooth over. I’ve heard a number of such sopranos in person myself, and every one of their recordings, whether pirates or commercial, exaggerate their faults. But Udovich’s recordings, at least the ones I’ve heard made between 1954 and 1961, are thrilling and not at all wiry, ugly or screaming. In fact, I wholeheartedly agree with Mr. Burtis that her performance of Turandot “is the best singing of that role I have ever heard, bar none!”

However, I shall let you be the judge. Here is a generous selection of her performances for you to listen to and judge for yourself. Just click on the link below:

Lucille Udovich, soprano – Operatic Excerpts

It isn’t often that I ask my readers for feedback, but in this case I would like your honest reaction to her singing. Please let me know if you hear her as lovely and thrilling, as I do, or a wiry, ugly screamer. I know that no two people hear voices alike and I’d be interested in knowing your reaction.

— © 2016 Lynn René Bayley

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3 thoughts on “Discovering Lucille Udovich

  1. Joe Pearce says:

    I was lucky enough to know Lucille personally, totally through perhaps a decade of correspondence. This was brought about by a review I did of her televised 1958 TURANDOT for the periodical Opera Fanatic. I liked her very much in that, as I had in her earlier commercial IDOMENEO, but mentioned that some of her very top notes were a bit strident, which caused her to write to me from Italy (she apparently either read Opera Fanatic or knew others who did), not in any kind of anger, but just to have me go into more detail on that stridency. That passed, and we then corresponded up to the time she died, discussing more or less general operatic things, but especially her devotion to the Italian cleric and (I gather) mystic, Padre Pio. Lucille was an extremely devout Roman Catholic, and she and her sister were both devoted to both their religion in general and Padre Pio in particular. She was confined to a wheel chair for at least the last decade of her life, but met this challenge with reasonable humor and great warmth. Today, when everybody and their daughters sing Turandot, it is worth remembering that when Lucille did so, in Italy in the 1950s and 1960s, she was one of the very few around. Everything about Lynn Bayley’s article here rings true with me, and Lucille Udovich should certainly be better known to opera lovers everywhere.

    Liked by 1 person

  2. Lucille was my first cousin once removed, and while I never got to meet her, she loomed large in the family lore. My mother got to go to one of her performances here in the US, a 1960 performance of Turandot with Richard Tucker at the Houston Grand Opera. I have some photos of Lucille, my mother, and a couple of my mom’s sisters, backstage with Mr. Tucker. Very cool.

    Lucille’s voice has always reminded me of Callas’, for some reason. Callas with a ‘tighter’ quality, for lack of a better term. Certainly no wobble. There are hints of a Callas-like timbre for me. I also had a recording of her (done on the sly by another cousin who was visiting her in Rome in the 80s) speaking and singing acapella. Her speaking voice was like an amalgam of all my female relatives – family for sure! And her singing of Mozart’s Ave Verum Corpus, was sure and lovely.

    Liked by 1 person

  3. Gavin says:

    Oh I just heard her Turandot tonight. I heard some say that she was the best Turandot, but since I had not heard of her name much, I assumed that was an exaggerated comment. A great Turandot would not have gone not-well-known in the opera world, I thought.

    And now, I was so shocked and happy! I completely agree that she was the best Turandot on her live recording with Corelli. Her portrayal was more detailed than all others, her voice had a warmth that was so important in Italian operas and that was lacking in Nilsson’s. She surely was not a screamer, in the contrary, I found her very flexible dynamically. It was a great pity that health problems had prevented her from contributing more to the operatic world, a pity for herself as well as for all of us opera fans!


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