Under her real name of Yolanda Gigliotti, Dalida was born in Cairo on 17th January 1933.
She came from an Italian family which had emigrated to Egypt, and was the only daughter between two sons, Orlando her elder brother and Bruno, her younger. Their father Pietro, was the Principal Violinist for the Cairo Opera.
In her teenage years, she was destined to follow a career as a secretary. In 1951, she secretly entered a beauty pageant. Three years later, she took part in the Miss Egypt contest and won first prize. She was then hired as an actress to make films in Cairo, the Hollywood of the Middle East. There she was spotted by a French film producer. Yolanda, who had become Dalila, dreamt of Paris. Despite her family's misgivings, on 24th December 1954, she caught a flight to Paris.
Times were hard. French cinema had no place for her. So in order to make ends meet, she took singing lessons. She was booked for a cabaret on the Champs Elysées, and later on at the Villa d'Este. She was introduced as the "Revelation of French Song".
Bruno Coquatrix had just bought an old Parisian cinema, the "Olympia", where he put on a variety show, "The Number Ones of Tomorrow". Dalila was invited and she chose to perform "Stranger in Paradise". On that occasion, she met two men: Lucien Morisse, Artistic Director of Radio Europe 1, and Eddy Barclay, a record producer. They had decided to discover the pearl that would help them launch both their respective businesses. Dalila, now having become DALIDA, seemed to be the artiste they needed.
She recorded her first single on the Barclay label, "Madonna", but it was with "Bambino" that Dalida would make her mark. It was an enormous success.

1956 was for Dalida a year full of success. She took her first steps on the stage at the Olympia as warm-up to Charles Aznavour. "Bambino" launched her into the arms of the public and they took to her enthusiastically. She was in great demand. By September the crowds were struggling at the doors to get in. From now on Dalida appeared on the covers of all the magazines. On 17th September 1957, the first gold disc was created for her. Lucien Morisse was becoming more than a Pygmalion for the young singer. Romance was blossoming between them. In 1958, she recieved an oscar from Radio Monte-Carlo, which she subsequently won seven years running. Then she went on a world tour. She returned triumphant to the Bobino Club.
Lucien Morisse continued to give her success after success to record. By this time she had become the favourite singer in France and led the charts ahead of the likes of Edith Piaf and Jacques Brel?! Their eagerly-awaited wedding seemed destined never to take place. On 8th April 1961, after a lot of procrastinating, Lucien and Dalida were married in Paris.
She invited her family to the French capital, then left on tour immediately following the wedding.
There was no honeymoon.


Lucien Morisse never even let her catch her breath: work, work, work. This affected their relationship. Dalida felt ill at ease. Some months later, she met Jean Sobieski at an event in Cannes. The love at first sight was reciprocal. Thus a barrier started to develop between her and Lucien Morisse. Despite her artistic debt to him, she wanted to find her freedom, something which her recently-married husband found difficult to accept.
Despite her new-found passion, Dalida didn't forget her career. Yeh-yeh was all the rage in France. In December 1961, she was at the Olympia. The future was far from being assured since Dalida was no longer just a new girl in the world of showbiz. It was however a triumph. That reassured the singer and her fans. For a whole month she filled the hall which contained more than two thousand fans per night. Then she went on tour, notably to Hong Kong and Vietnam, where she was a true idol.

In summer 1962, Dalida sang "Petit Gonzalez" and saw the same kind of success that she had had for some time now. That year, she bought a town house in Montmartre. The house, which resembled the castle of Sleeping Beauty, was perched on top of one of the most famous parts of Paris.

After her divorce from Lucien Morisse and having moved into this new house, Dalida ended up splitting from Jean Sobieski. She took a step back. She changed herself, becoming more sophisticated and continuing her self-learning process by reading more and more. On 4th August 1964, she completed her transformation by turning blonde.
On 3rd September, she took Olympia by storm again. She had by now become the favourite singer in France, having survived the yeh-yeh craze and still right in the middle of European variety music. In 1965, she sang "Zorba's Dance" to the music of Theodorakis who had composed the soundtrack to the film "Zorba the Greek". A new success. She dreamt of marriage but there wasn't a single suitor on the horizon. Songs took up all her time, between galas and recording. At the end of 1966, her younger brother Bruno, who for his own career reasons, had taken the forename of his older brother Orlando, took charge of his sister's career. Rosy, their cousin, had become the singer's secretary. All in the family.



In October 1966, the Italian record company RCA offered her a talented young writer-composer, Luigi Tenco. This tempestuous and confrontational man made a great impression on Dalida. For a new Italian campaign, the label decided to present its singer at the San Remo Festival. Luigi was asked to write the song. The two artistes had many meetings. A real passion was born between them. They decided that they would both perform at San Remo, at the Festival show of January 1967, singing the same song: "Ciao Amore". There was a lot of pressure because Dalida was a star in Italy and Luigi Tenco a young unknown. The couple took this occasion to announce to their close families that they would get married in April. Unfortunately, the evening turned into a tragedy. Luigi Tenco, extremely disturbed, under the effects of alcohol and tranquilisers, could not bear to see the prize go to other contenders. He berated the jury members and denounced the influence of money on the festival. Disgusted and misunderstood, he committed suicide in the room of his hotel. Dalida was distraught. Some months later, in desperation, it was her turn to attempt to take her life with the aid of sleeping pills.

In fact this unfortunate incident was to herald a new era in the career of Dalida. It was to be the beginning of the "Madonna" period where she wore a long white dress. The public devotion appeared to be eternal for "Saint Dalida", as she was nicknamed by the press.
The time of "Bambino" was over. Now she was reading a lot, taking an interest in philosophy, becoming passionate about Freud and taking up yoga. Henceforth her only reason to live would be to fortify her soul. But her career continued: she returned to Italy to take part in a famous TV show, and on 5th October 1967, was back on stage at the Olympia. A rebirth took place there and again it was a fresh triumph. In spring 1968, she left again on tour abroad. In Italy, she received the grand prix of song, "Canzonissima".
Always in search of herself, Dalida undertook several trips to India to follow the teachings of a wise man. At the same time, she underwent Jungian psychoanalysis. All this seemed to take her away from singing, but she didn't forget that part of her life. In August 1970, she had great success with "Darladiladada". In the autumn, she met Léo Ferré during a TV programme. As soon as she returned to Paris, she recorded "Avec le temps" which she made very popular. From now on she would only record songs which in her eyes had a poetical dimension. Bruno Coquatrix, owner of the Olympia, didn't believe in this new repertoire. Sensing his hesitation, Dalida decided to book the hall herself, for three weeks at the end of 1971. Her Pygmalion, Lucien Morisse, was no longer there to support her; he had committed suicide in September 1970. Dalida was really doubtful as she went on stage. But once again the success was immense.



She met Alain Delon again, a life-long friend, with whom she had had a passionate relationship in the 1960s. They had forgotten nothing of their friendship and now it was just as strong. They sang "Paroles Paroles" together in 1973. Soon this track went to number one in the charts in France, Europe and Japan.

The start of the 1970s was professionally very auspicious. Her new companion at that time, Richard Chanfray, who called himself "Count of Saint-Germain", seemed to be helping her a lot, a knight in shining armour with a somewhat strange personality, but nevertheless devoted to the singer. He gave her back a taste for life. Now she entered the phase of "Hollywood Star" where she thrust her femininity to the fore.
At the end of the year, she recorded "He Must Have Been 18". The track went to number one in nine countries, including Germany, where she sold 3½ million copies. On 15th January 1974, she took to the Olympia stage once more and finished off her performance with a new song "Gigi l'Amoroso". It lasted 7½ minutes, and included spoken and sung parts with several choruses. This track is still Dalida's best-selling hit worldwide, number one in twelve countries.
Then she left for a grand tour of Japan. At the end of 1974, she went to Quebec. Seevral months later, she went back again, before going to Germany. In February 1975, she received the French Academy Award for records.

A little while later, and to everyone's general surprise, Dalida threw herself whole-heartedly into an direction that no-one could have foreseen, the disco craze. Unrivalled pioneer in this area, her "J'attendrai version 75" was the first ever French disco single.



The 1970s also saw the birth of variety shows on television. She took advantage of this, since she was regularly invited to appear on TV in France and abroad.
In the Arab countries, Dalida was hugely appreciated. Everyone knew of her origins in Cairo, Egypt. That reinforced the link between her and the public there. Her return to Egypt in the 1970s and her travels to Lebanon gave her the idea to record in Arabic. In 1977 she took a traditional Egyptian folk song "Salma Ya Salama", and released it in France and the Middle East. The success was staggering. She eventually recorded it in five languages.
With "Génération 78" which was incidentally the first medley and the first French music video, she gained the opportunity of beating many other artistes at their own game. Now she was a show-woman of the first order, dressed in sumptuous sequinned gowns split to the thigh.
Americans love this kind of artiste, both glamorous and professional. They contacted her to come and give a show in New York. So on 29th November 1978, she took to the stage at Carnegie Hall. The crowd went wild. Dalida performed for the first time a song called "Lambeth Walk", with its1920s feel. The local press lapped it up. Dalida wallowed in her American success.
When she returned to France, she continued to record. During the summer of 1979, her new hit was called "Monday Tuesday". Dalida surfed the disco wave with ease, taking yet another fashion in her stride. In June, she returned to Egypt to perform. She was eagerly awaited there, not only by the public but also by the president Anwar Sadat. Then she went on a tour of the Emirates before returning to France.

The 1980s started off with a bang. Dalida, in all her glory, performed at the Palais des Sports in Paris from 5th to 20th January 1980 with an American-style show, with twelve costume changes, mountains of feathers and tons of costume jewellery. The star was surrounded by eleven dancers and 30 musicians. This was a real Broadway choreographed show, which lasted more than two hours. All eighteen shows were sold out. She was the first female star to have success on such a scale. As soon as it was over she went on a grand tour which finished in the autumn.
In 1981, after a sad break-up with the Count of Saint-Germain, Dalida as always, threw herself into her work so as to cover up her chaotic private life, where once again she found herself alone. She repeated the Palais des Sports show at the Olympia in March 1981. For the first time, a diamond disc was created for her, and she was the first to receive one for worldwide record sales. Not only was it to celebrate sales of 85 million records, but also 55 gold discs for records in in seven languages and for her career as a whole. Then, ever the indefatigable professional, she went on tour again.
The next two years were notable for the fact that she was in a favourable position based on her friendship with the new French President, François Mitterrand. Many critics gossiped about their relationship rather than commenting on her professional career.
In 1983, she recorded a new album which included such tracks as "Mourir sur scène" and "Lucas". On 20th July that year, another blow was to befall the singer. Richard Chanfray committed suicide in Saint-Tropez in the south of France. Dalida was very affected by the death of her former companion, to the extent that it altered her professional enthusiasm. People noticed a physical change in her.
In 1984, she left again on tour, by public demand. Then she visited Saudi Arabia for some recitals. In 1985, she underwent two ophthalmic operations which brought back terrible memories.
During her 37 years of uninterrupted success, she found the time to make several films, but she had to wait until 1986 for a real meaty role. She didn't mind making herself look older for Youssef Chahine's film "The Sixth Day", in which she showed what a great actress she could be. Critics praised her performance.
But from their ivory towers, even goddesses have crises of faith and suffer from heartache. Dalida wasn't immune to this. The endgame of all exceptional tragic stories was already underway. All the years of work had tired her out, she was exhausted. She felt more and more alone and sensed that as her artistic life had grown, that of the woman inside had shrunk. She had neither husband nor children and the years were beginning to weigh down on her.
She sang: "I want to die on stage? ".
But, thinking that life had nothing else to give her, she decided to go to sleep forever on the night of 2nd May 1987, and left her final message:
"Forgive me, life has become unbearable for me".


Dalida Forever - Copyright ©2011 Orlando Production Entertainment Inc. All rights reserved.

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ولدت داليدا، و اسمها الاصلي" يولاندا جيغليوتي" في القاهرة يوم 17 كانون الثاني (يناير) عام 1933. عائلة يولاندا ايطالية الاصل لكن مقيمة في مصر، وكانت هي الابنة الوحيدة بين ولدين: "اورلاندو" و هو الاخ الاكبر و" برونو" الاصغر. والدها "بياترو" كان عازف الكمان الاول في اوبرا القاهرة.
في فترة مراهقتها و بعد انهائها دراستها المدرسية، عملت يولاندا كسكريتيرة في شركة استيراد و تصدير. عام 1951 تقدمت بسرية تامة و بدون علم اهلها الى احدى مسابقات الجمال. و بعد 3 سنوات اشتركت بمسابقة ملكة جمال مصر و فازت باللقب عام 1954. على اثرها ارتبطت بتصوير بعض الافلام في القاهرة، التي كانت تعد في وقتها هوليوود الشرق و مثلت في فيلم "سيجارة و كاس" حيث غنت و رقصت. بعدها تعرفت يولاندا الى مخرج فرنسي و هنا طلب منها تغيير اسمها من يولاندا الى داليلا. و كان قد نصحها ايضاً بأن تجرب حظها في السينما بباريس. و هنا اصبح حلم باريس يراود داليلا لكن العائلة ام تكن موافقة. لكن في ليله 24 كانون الاول / دبيسمبر 1954، و بالرغم من معارضة الاهل، تركت داليلا القاهرة متوجهة الي فرنسا.
لم تكن الحياة سهلة في باريس في بداية الامر و مرت داليلا باوقات صعبة، اذ انها لم تجد لها مكاناً في السينما الفرنسية و هنا قررت الغناء كي تتمكن من الاستمرار و بدات بأخد بعض الدروس في الغناء و الاداء. عندها حصلت على عمل كمغنية في احدى حانات ال"شانزيليزيه" (Champs Elysées) و بعدها انتقلت للغناء في "فيلا ديست" (Villa d'Est).
في هذه الاثناء، كان هنالك شخص اسمه "برونو كوكاتريكس" قد اشترى مسرح "الاولمبيا" في باريس و كانت يقيم بعض العروض الترفيهية. و في احد هذه العروض، و الذي كان هدفه البحث عن المواهب الجديدة، دعا "برونو" داليلا للمشاركة فلبت الدعوة و غنت اغنية "غريبة في الجنة" (Etrangère au Paradis). و هنا التقت داليلا بكل من "لوسيان موريس" (Lucien Morisse) المدير الفني لاذاعة "اوروبا 1"، و "ايدي باركلي" (Eddy Barclay) منتج اسطوانات.و هنا قرر الرجلان العمل معها بحكم انها الجوهرة الفنية التي ستسمح لهما بالانطلاق في اعمالهما.الخطوة الاولى كانت بتغيير الاسم مجدداً من داليلا الى داليدا و من بعدها سجلت داليدا اول اسطوانة لها مع باركلي و كانت بعنوان "مادونا" (Madona) ، الا ان النجاح الاكبر حصلت عليه من خلال اغنية "بامبينو" (Bambino) وبالتالي فرضت نفسها نجمة من الصف الاول اثر النجاح الهائل الذي حققته تلك الاغنية.

عام 1956 كان عام النجاحات بالنسبة لداليدا و هنا كانت قد بدأت تخطو خطواتها الاولى نحو "الاولمبيا" (Olympia) حيث كانت تغني قبل "شارل ازنافور" (Charles Aznavour). كان لاغنية "بامبينو" تأثير كبير في الجمهور اذ كان يستقبل داليدا بحرارة و حب كبيرين و كانت داليدا تعيد غنائها لهم مرات عديدة نزولاً عند رغبتهم. و بحلول شهر ايلول / سبتمبر من العام نفسه، كانت الجماهير تتدافع للدخول لحضورها وفي هذه الفترة بدأت داليدا بالظهور على اغلفة المجلات.
في17 سبتمبر/ ايلول من العام 1957 صُنعت اول اسطوانة ذهبية خصيصاً لها. في هذه الاثناء تحول "لوسيان موريس" الى اكثر من مجرد مكتشف و صانع لنجومية داليدا، و اضحى واضحاً وجود علاقة حب و اعجاب متبادلة بينهما. في عام 1958 حصلت داليدا على اوسكار من اذاعة "مونتي كارلو" و استطاعت المحافظة على هذه الجائزة لمدة 7 سنوات على التوالي. بعدها، ذهبت النجمة في جولة حول العالم و من ثم عادت الى مسرح "بوبينو" (Bobino) حيث رافقها النجاح ايضاً. بفضل "لوسيان موريس" ظلّت داليدا تحقق النجاح تلو الأخر و اصبحت المغنية المفضلة لدى الجماهير لدرجة ان اغانيها كانت تكتسح اغاني "جاك بريل" (Jacques Brel) و "اديت بياف" (Edith Piaf) في سباقات الاغاني.
في 8 نيسان / ابريل عام 1961 كان الزواج المنتظر بين داليدا و لوسيان موريس بعد تأجيلات عديدة و قد عُقد الزواج في مدينة باريس. عندها، جاءت داليدا بعائلتها الى العاصمة الفرنسية و غادرت بعدها في جولة غنائية أخرى حول العالم فورا بعد زواجها اذ لم يكن هناك شهر عسل.





كان لوسيان يضغط كثيراً على داليدا من ناحية العمل و لم يكن امامها وقت للاستراحة. كان العمل يأتي اولاً بالنسبه للوسيان حتى لو انه تم على حساب علاقتهما الزوجية.... هنا احست داليدا بالتعب الشديد نفسياً و جسدياً اثر الكم الهائل من الضغوط. و بعد مرور اشهر قليلة، التقت ب "جان سوبيسكي" (Jean Sobieski) في "كان" (Cannes) و كان الحب من النظرة الاولى و على اثر هذا اللقاء، اصبح هنالك حاجز بتشكل بين داليدا و زوجها "لوسيان". ارادت داليدا ان تستعيد حريتها و تلغي ارتباطها بزوجها رغم انها كانت ممتنة له لمساعدته الفنية لها ، هو الذي اطلقها و شهرها. الا ان هذا الطلب كان يصعب جداً تقبّله من قبل "لوسيان" خاصةً و انه لم تمر سوى بضعة اشهرعلى زواجه و داليدا.
بالرغم من الحب الجديد في حياتها، فإن داليدا لم تهمل عملها ابداً. في عام 1961 و مع بداية موجه اغاني ال "يي-يي" (Yé- Yé) في فرنسا، غنت داليدا في الاولمبيا و هنا كانت قد اصبحت من الاسماء الكبيره آنذاك، و مرة أخرى، كان النجاح رفيقها. و لمدة شهر ظلت تغني في الصالة التي كانت تتسع ل 2000 شخص، و طبعاً كانت الصالة تمتلئ بالكامل يومياً. بعدها، ذهبت ايضاً بجولة، لكن هذه المرة الى "هونغ كونغ" و "فيتنام" حيث كانت معشوقة الجماهير.

بعد طلاقها من لوسيان موريس، و بعد انتقالها الى منزل اشترته حديثاً، قطعت داليدا علاقتها ب "جان سوبيسكي". و على اثر هذا الأمر تراجعت قليلاً و ابتعدت عن الاضواء مانحة لنفسها بعض الوقت، و قضت معظم ايامها و هي تقرأ و تتثقف وفي نفس الوقت بدأت تجري بعض التغيرات على مظهرها. و في 4 آب / اغسطس عام 1964 ظهرت داليدا بمظهر جديد و هي الحسناء الشقراء بعدما كانت تعرف من قبل بشعرها الداكن.
في 3 ايلول / سبتمبر من العام نفسه عادت لتغني في الاولمبيا و كانت قد اصبحت المغنية المفضلة عند الفرنسيين. في عام 1965 غنت "رقصة الزوربا" (La danse du Zorba) و هي من روح الفلكلور اليوناني و حصدت نجاحاً كبيراً جداً. وعاد حلم الزواج ليراودها الا انه لم يكن هناك اي شخص في حياتها في تلك الفترة، اذ ان العمل اخد كل وقتها و كانت منشغلة دوماً بدعوات العشاء و تسجيل الاغاني و حفلاتها الخاصة. في عام 1966، اخذ اخو داليدا الاصغر "برونو" اسم اخيه البكر "اورلاندو" و أصبح هو من يدير اعمالها، كما و ان قريبتها "روزي" اصبحت سكريترتها الخاصة.





في تشرين الاول /اوكتوبر عام 1966 تعرفت داليدا على "لويجي تانكو" (Luigi Tanco) و هو مؤلف اغانٍ ايطالي، صاحب موهبه و ابداع رهيبين. تأثرت داليدا بشخصيه "لويجي" و بخاصه بحب المنافسة و حب الفوز لديه. كان هناك مشروع عمل بين داليدا و لويجي بهدف المشاركة في مسابقة للاغاني في "سان ريمو" (San Remo) في ايطاليا، حيث تقرر ان يكتب لويجي اغنية ايطالية على ان تؤديها داليدا. و لهذا السبب اجتمعا مرات عديدة الأمر الذي ولّد علاقة حب شغوفة بينهما ، حينها، قررا المشاركه سوياً في المهرجان في كانون الثاني يناير عام 1967 كخطوة دعم من داليدا لحبيبها اذ انها معبودة الجماهير بينما كان هو في بداياته، و تقرر غناء اغنيه "وداعاً يا حبيبي" (CIAO AMORE). كان "لويجي" و داليدا قد اعلنا للمقربين لهما عن نيتهما بالزواج في شهر نيسان / ابريل من العام 1967. لكن لااسف لم يفز الثنائي في سان ريمو، و تحولت السهرة الى مأساة، اذ ان لويجي الذي كان تحت تاثير المهدئات و الكحول، لم يحتمل خسارة الجائزة وراح يتهم لجنة التحكيم بالغش و يقبولهم الرشوة. و لشدة يأسه و حزنه، انتحر لويجي في نفس الليلة مطلقاً النار على راسه في جناح الفندق. داليدا، و هي اول من وجده جثة هامدة، انهارت جسدياً و نفسياً، و لم تتحمل خسارة حبيبها فحاولت هي الاخرى الانتحار بعد مرور بضعة اشهر على رحيل "لويجي" و ذلك بتناولها جرعة هائلة من مهدئات الاعصاب. لكنها اُنقذت و هي في الرمق الاخير، و عادت للحياة بعد غيبوبة دامت اربعة ايام.

بعد هذه الحادثة الاليمة، ابتعدت داليدا فترة عن الاضواء، الا انها ما لبثت ان عادت لكن بمظهر جديد فما عادت ترتدي سوى الفساتين البيضاء الطويلة لدرجة ان الصحافة اطلقت عليها لقب "القديسة داليدا". كانت قد تغيرت كثيرا بالمقارنة مع فترة اغنية "بامبينو". فأصبحت تقضي معظم اوقاتها بالمطالعة و بخاصة قراءة الكتب الفلسفية. عشقت فرويد، و بدأت بممارسة اليوغا و ذهبت في رحلة استكشاف لاعماق النفس البشرية. الا ان غنائها استمر حيث انها عادت الى ايطاليا للمشاركة في برنامج تلفزيوني شهير. و في 5 تشرين الاول / اوكتوبر عام 1967 عادت تغني في الاولمبيا و عادت الحياة اليها و طبعاً، و كالعادة كان النجاح الى جانبها. و في عام 1968 ذهبت في جولة حول العالم و حصلت على جائزة كبيرة في ايطاليا عن اغنية "كانزونيسَيما" (Canzonissima).
كانت داليدا لا تزال مستمرة في رحلة البحث عن الذات، و في هذا الاطار زارت الهند مرات عديدة حيث التقت الحكماء، و كانت جلسات تأمل و رياضات روحية كثيرة. و كاد هذا ان يبعدها عن الغناء لفترة الا انها عادت من جديد في آب / اغسطس 1970 و حققت نجاحاُ لا مثيل له من خلال اغنيه "دارلاديرلادادا" (Darladiladada). في خريف العام نفسه، التقت داليدا "ليو فيرّي" (Léo Ferré) في خلال برنامج تلفزيوني و فور عودتها الى باريس سجلت اغنية "مع مرور الوقت" (Avec le temps) و التي تعود بالاصل ل "فيرّي" و انتشرت الاغنية بفضلها اكثر فاكثر. في هذه المرحلة، قررت الا تغني سوى الاغاني التي لديها معنىً عميق و هدف معين و التي تملك بعداً شاعرياً. الا ان مالك مسرح الاوليمبيا "برونو كوكاتريكس" لم يحبذ هذه الفكرة، و اصبح يماطل في اعطائها صالة في المسرح مما اضطر داليدا لاستئجار الصالة على نفقتها الخاصه لمدة ثلاثة اسابيع في اواخر ال 1971. و لم يكن "لوسيان موريس" الى جانبها لدعمها في تلك الفترة بما انه كان قد انتحر في ايلول / سبتمبر من العام 1970. قرار داليدا هذا كان مخاطرة ، لدرجه انها كانت تخشى الصعود الى المسرح في الليلة الاولى، الا ان النجاح الكاسح كان حليفها مرة اخرى و جاءت هذه المخاطرة في مكانها.





في فتره السبعينيات عادت داليدا و التقت ب"ألان دولون" (Alain Delon) ، الصديق القديم، هو الذي شاطرها علاقة حب و اعجاب بداية الستينيات. و لم ينسَ اي منهما قصة حبهما و كان التناغم بينهما اقوى من الايام الخوالي. في سنة 1973 غنى الثنائي اغنية "كلام و كلام" (Paroles Paroles). و بعد اسابيع قليلة على بث الاغنية، احتلت الاخيرة المراكز الاولى في سباق الاغاني في كل من فرنسا، اوروبا و حتى في اليابان..

شهدت بداية السبعينيات تقدماً كبيراً لداليدا على الصعيد المهني حيث سجلت فيها قفزة نوعية على مستوى الفن الذي قدمته. يعود الفضل بذلك الى صديقها الجديد، الفارس ذو الشخصيه المبهمة قليلاً، "ريشار شانفري" (Richard Chanfray) و الذي كان يطلق على نفسه لقب "الكونت دو سان جيرمان" (Le Conte de Saint-Germain). كان يحبها كثيراً و هذا الحب اعاد لها طعم ، فانتقلت داليدا هنا الى مرحلة جديدة: "مرحلة النجمة الهوليوودية" حيث انها اولت اهتماماً بالغاً لاظهار انوثتها.
بنهاية العام سجلت اغنية "ها قد بلغ ال 18 عاماً (Il venait d'avoir 18 ans) الاغنية التي احتلت المرتب&#