Mostrando entradas con la etiqueta article2025. Mostrar todas las entradas
Mostrando entradas con la etiqueta article2025. Mostrar todas las entradas

martes, 29 de julio de 2025

Mamma Mia! Here We Go Again

 Mamma Mia! Here We Go Again–Get to Know the Story Behind the Iconic ABBA Musical Before It Returns to B

Kaitlin Stevens — 


It’s been almost 25 years since Mamma Mia! made its Broadway debut at the Winter Garden Theatre, and nearly 10 years since the show had its last curtain call. But this summer, Mamma Mia! is coming home. Here’s a closer look at how the little ABBA jukebox musical-that-could became an unexpected international smash hit.


That’s Her Destiny

In the 1980s, producer Judy Craymer met and worked with founding ABBA members Björn Ulvaeus and Benny Andersson on the musical Chess. Craymer says she was “instantly smitten” upon meeting the pair and determined to work with them. Early on, Craymer recognized the theatrical storytelling that took place across ABBA’s songs. The idea for a play based on ABBA’s music all started with “The Winner Takes It All,” the lead single off of ABBA’s 1980 album Super Trouper and a devastating break-up song, written by Ulvaeus in the wake of his divorce from fellow ABBA member, Agnetha Fältskog. “I’ve wanted to sing “The Winner Takes It All” to every ex-boyfriend I ever had,” Craymer said in Vogue’s 2023 oral history of Mamma Mia! “Long before I had a plot, I knew that song would be the explosive, 11-o’clock ballad that sends audiences into ecstasy every night.”


Take a Chance On Me

Despite Craymer’s excitement to make a musical, it took some convincing. She initially pitched Ulvaeus and Andersson a TV special loosely based around the dynamic Swedish pop group’s songs, but they weren’t on board, wary of the criticism of their Europop style amid the burgeoning New Wave movement. But in 1992, the band’s music got a new life when the compilation album ABBA Gold was released, reminding old listeners (and showing new fans) that a well-produced and incisively written, feel-good pop song is nothing to turn up your nose at. With some more persistence on Craymer’s part, Ulvaeus and Andersson agreed that with the right librettist, there could be something. Catherine Johnson turned out to be the perfect fit.



Judy Craymer, Catherine Johnson and Phyllida Lloyd (Photo c/o Littlestar)

Dream Team

It was Craymer’s idea to make a multigenerational musical, inspired by the tonal shift from ABBA’s earlier work, which had a youthful sound, to their later work, which transitioned into more mature lyrics and subject matter. Johnson suggested the story follow a mother and daughter in the lead-up to the daughter’s wedding. “What if the daughter is getting married but she doesn't know who her dad is—and there are three possible dads?” Johnson recalls saying to Craymer. “Judy just looked at me and said, ‘Sit back down.’”


British theater director Phyllida Lloyd was next to join them team. While Lloyd had no intention of ever doing a commercial musical, an “incredible meeting” with Craymer and Johnson sold her on the project. “We were all very much girls of a certain age who shared an immediate sense of humor,” Lloyd said. Craymer commented in a 2017 interview, “It was unusual, if not unheard of, for three women to be the collaborative creative force behind what was to become such a commercial success. Appropriately,” she added, “Mamma Mia! features three strong women in the story. Their characters are completely different—slightly bossy, a bit chaotic, extremely practical and very high maintenance.”


Opening Night

Mamma Mia!’s original working title was Summer Night City, which is what it was still called during its London previews in 1999. According to Ulvaeus, the “city” part never felt right, so they took out a globe to find the perfect island for it setting, landing on Greece. As for the title, Ulvaeus says that no other song title worked the way “Mamma Mia!” did, so despite the phrase’s Italian origins, it stuck for the Greek musical. With contemporary musicals beginning to make waves, the chances of success were still up in the air. But despite the show’s divergence from the norm, the first preview was a hit. On opening night, April 6, 1999 at the Prince Edward Theatre in London’s West End, it was clear they had created something special. As Craymer recalled, “The audience were charmed and one British critic wrote, ‘Mamma Mia! could put Prozac out of business.’”


Karen Mason and the original Broadway cast of "Mamma Mia!" (Photo: Joan Marcus/NYPL)

A Detour to Broadway

While Broadway was eager for Mamma Mia! to make its way to New York City, the production team was gun shy. Despite London’s warm reception, Ulvaeus was still scarred in the aftermath of his previous musical, Chess, which received a negative New York Times review and closed quickly: “I said there was no f**king way we were taking Mamma Mia! to Broadway until it was totally critic-proof.” Craymer was more enticed by the idea of Broadway, but was open to taking the long way there. They brought the show to Toronto in May of 2000, and from there, organized a U.S. tour, starting in San Francisco in November of the same year, stopping in Los Angeles and ending in Chicago in August 2001.


It wasn’t until October 5, 2001 that Mamma Mia! started previews on Broadway, officially opening October 18. The timing worked in its favor, becoming a much-needed source of fun and light in the wake of 9/11. One of their grateful audience members was none other than the silver screen’s future Donna, Meryl Streep, who sent a thank-you note to the cast after making the show the main event of her then-10-year-old daughter Louisa’s birthday celebration. “We were all dancing in the aisles and down the street…We bought the cast album and sang the songs for two years,” she said in an interview with IndieLondon. “That’s why I wrote the note to the cast. To basically say, ‘Thank you for the music and for the injection of joy that was so needful at that moment.’”


Christine Baranski, Meryl Streep and Julie Walters in the film adaptation of "Mamma Mia!"

(Photo: Universal Pictures)

Let’s Make a Movie

It wasn’t long before the Mamma Mia! team was approached to make a film adaptation, but they were hesitant about bringing their show to the silver screen, claiming that they’d only want to take that route when the musical started to lose buzz. The glowing reception to Rob Marshall’s 2002 big-screen adaptation of Chicago, which prompted a major jump at the Broadway box office, inspired a change of heart. Husband-and-wife duo Tom Hanks and Rita Wilson reached out to inquire about the rights to the film through Hanks’ production company with Gary Goetzman, Playtone. Much like the road to making the musical, the movie took a few years and some wheel-greasing, but once it was settled, Craymer got her wish: The stage team held the reins and resumed their respective producing, directing and writing roles. And with mega-fan Meryl Streep on board as the lead, the pieces fell into place. The film was a bona fide, record-breaking hit upon its 2008 release, and its 2018 sequel, Mamma Mia! Here We Go Again, was similarly successful.


World Tour

Since its debut in London in 1999, Mamma Mia! has been performed in 60 countries, from Argentina to Indonesia to Lithuania to Sri Lanka. The show has been translated into over 20 other languages, starting with German, for its 2002 production at the Operettenhaus in Hamburg, which drew in 2.5 million people over the five years it played. Other translated productions took place across Italy, Spain, the Netherlands, Korea, France and more. One of the show’s biggest international translation feats was its July 2011 debut in Shanghai, China, which, Craymer notes, “took literally years of planning and negotiating as well as actual political change within the People’s Republic” to come to fruition. The musical’s Broadway return now comes on the heels of its 25th anniversary North American tour, which recouped its $4.25 million investment in just 13 weeks. Running from August 2 through February 1, 2026 at the Winter Garden, its home of 14 years, the show ready to prove to a new generation that pop tunes and flare pants never go out of style.


Lena Owens (Lisa), Amy Weaver (Sophie Sheridan) and Haley Wright (Ali), coming to Broadway with "Mamma Mia!" from the U.S. tour (Photo: Joan Marcus)

sábado, 26 de julio de 2025

ABBA no fue solo pop. Fue ingeniería emocional


 


El: viernes, 25 de julio del 2025

De 1974 a 1982 soltaron 8 álbumes de estudio, 70 sencillos, y más de 400 millones de discos vendidos

"ABBA no fue solo pop. Fue ingeniería emocional

Santo Domingo RD.- Una fábrica de hits disfrazada de cuarteto sueco, que logró lo impensable: sonar felices mientras te contaban cómo se rompe un corazón.

 

En 1974 ganaron Eurovisión con “Waterloo” y el mundo cambió de frecuencia. A partir de ahí, nada fue igual.

 

De 1974 a 1982 soltaron 8 álbumes de estudio, 70 sencillos, y más de 400 millones de discos vendidos (sí, cuatrocientos millones), sin TikTok, sin giras masivas por América, y sin necesidad de escándalos mediáticos. Solo música. Solo talento.

 

Lo impresionante de ABBA no es que te sepas “Dancing Queen” sin saber de dónde la conociste.

 

Lo verdaderamente brutal es esto: son el único grupo que logró mantenerse vigente durante décadas sin tocar un solo concierto entre 1982 y 2016.

 

Cero giras. Cero reencuentros. Cero entrevistas. Y aún así, sus canciones seguían sonando en fiestas, bodas, karaokes, películas, estadios, anuncios, videojuegos, playlists y sueños.

 

Y luego vino el fenómeno “Mamma Mia”, el musical más taquillero de la historia basado solo en sus canciones.

 

La película de 2008 recaudó más de 600 millones de dólares y revivió a ABBA como si nunca se hubieran ido. Porque en realidad, nunca se fueron. Solo estaban esperando a que el mundo volviera a necesitarlos.

 

¿Qué los hace distintos?

 

La perfección melódica de Benny y Björn, el tono cristalino y devastador de Agnetha y Frida, y una capacidad quirúrgica para escribir sobre divorcios, celos, nostalgia y vacío… sin sonar tristes.

 

Canciones como “The Winner Takes It All”, “SOS” o “Knowing Me, Knowing You” son dramas disfrazados de pop bailable.

Y sí: muchas de esas letras fueron escritas en pleno proceso de separación de ambas parejas del grupo. ABBA sonó mejor mientras todo se les caía. Así de potente era el dolor que manejaban.

 

En 2021, luego de 40 años de silencio, lanzaron Voyage, un disco nuevo que vendió más en su primera semana que muchos artistas de moda con millones de seguidores.

 

Y hoy, en Londres, tienen un show holográfico en el que no están… pero están. ABBA no envejece. Se reinventa sin tocarse.

ABBA demostró que el pop no es superficial si viene del alma. Que se puede hablar del desamor sin gritar.

 

Y que hay canciones que, aunque no entiendas el idioma, entiendes el sentimiento.

 

ABBA fue elegante, fue sutil, fue devastador… y sigue siendo eterno.

 

No fueron solo parte del pop. Fueron un género aparte.

 

Lo demás… es historia."

--------------------------------------------------------------




Saving money, money, money: Abba Voyage chiefs replace experienced band with cheaper musicians to cut costs

 Saving money, money, money: Abba Voyage chiefs replace experienced band with cheaper musicians to cut costs

By GRANT TUCKER



PUBLISHED: 22:30 BST, 26 July 2025 | UPDATED: 22:30 BST, 26 July 2025

It is the lucrative show that allows Abba fans to experience a concert from the group as they were in their prime – or rather, through digital 'Abbatars' and a glittering ten-piece band.


But despite having raked in £300 million in ticket sales, The Mail on Sunday has discovered that the producers of Abba Voyage are cutting costs.


They have replaced the live band – which accompanies the four singing avatars of Abba – with cheaper musicians.


The show has attracted more than 2.5 million visitors since it opened in 2022 at the Abba Arena in London's Queen Elizabeth Olympic Park, and it has contributed £1.5 billion to the economy. 


The original line-up of musicians – to accompany the avatars of Agnetha Faltskog, Bjorn Ulvaeus, Benny Andersson and Anni-Frid Lyngstad – was put together by former Klaxons singer James Righton, husband of Keira Knightley.


He scoured the globe for a band that could bring the group's hits to life, hiring the likes of singer-songwriter Victoria Hesketh, known as Little Boots, on the keyboard.


'The [band was] always brilliant and had amazing players,' Righton told NME magazine at the time. 'This band had to step up to being as good as the original line-up.'



However, neither Righton nor any of the musicians who worked with Abba members Benny and Bjorn in Stockholm to bring the extravaganza to life still work at the 3,000-capacity arena.


'Now it is a huge success with sell-out audiences, the bosses have begun cost-cutting and have even replaced the band with cheaper musicians,' one worker said.


'If something as successful and lucrative as Abba Voyage is cutting corners, there is not much hope for the rest of the industry.'


Last month auditions took place for new performers after an open call for 'a full-time contract with our live band at the Abba Arena'. 


The advert said: 'We are searching for professional guitar, bass, keyboard, saxophone, drums and percussion players, as well as female-identifying singers of the highest quality. Ability to read sheet music is a bonus.'


Workers fear that the quality of the show will be compromised when the new musicians take over in December.


Abba Voyage, a 95-minute run-through of 20 of the band's greatest hits, took five years and an estimated £15 million to make.


One of the most iconic moments in the show is when the four avatars are silhouetted against vintage footage of Abba winning the Eurovision Song Contest in Brighton in 1974.


Originally billed as a temporary structure, the Abba Voyage venue is not slated to be earmarked for housing redevelopment until 2029. Abba were approached for comment.

https://www.dailymail.co.uk/news/article-14943625/abba-voyage-chiefs-replace-band.html


jueves, 24 de julio de 2025

What's it like to see a show at the model for proposed new Swindon venue?

 What's it like to see a show at the model for proposed new Swindon venue?

Aled Thomas

Thu 24 July 2025 at 11:00 am GMT-3

3 min read



Local Democracy Reporter Aled Thomas outside the Abba Arena (Image: Aled Thomas)

I went to see the Abba Voyage arena as it is referenced as the blueprint for what a new theatre in Swindon could look like.


Bosses at Swindon Borough Council who want to see a bigger replacement for the Wyvern Theatre built on the site of the current bus station are keen on the construction methods used at the east London venue – while it won’t last as long as a more traditional brick and mortar structure, it is much cheaper to put up.


I was lucky enough to attend the Abba Voyage concert recently courtesy of my wife, who graciously allowed me to buy tickets for the show for her birthday.

I went along with half an eye on what the building was like, and whether the experience of going to a show there is different to a more standard venue.


And I have to say it is, a little.


The auditorium is much bigger than what’s being proposed for Swindon – The Abba Arena holds 3,000 people both seated and standing on a dancefloor, while the council here say they’re looking at a capacity of 1200 seated or 2,000 standing.


It’s the front of house where the Arena seems to be significantly different from more traditional theatre and concert halls.



They tend to concentrate on the auditorium, with relatively little room given to a foyer, box office and cafes and bars. These spaces tend to be small, often rather haphazard in shape or access, and can be quite crowded.


They are, in effect, a place to wait, not always in much comfort, before you go into the performance space.


The Abba Arena isn’t like that. Tickets are checked before you get into the building, and once you’re in, it’s all much more permeable. Inside, the front of house area is much bigger and more open. It’s a large open space with merchandise stalls, catering outlets and even a DJ booth.


It’s something more akin to a concourse in a very smart new sports stadium, very spacious and light- and seems designed to be part of the evening’s entertainment – go with friends, get a pizza and a glass of something, have a bit of a dance before the show.


One of the reasons it’s cheaper to build a venue like this (and the reason why it is actually demountable and can be taken away and set up somewhere else) is that the frame is made of steel and wood.


Architect Stufish’s website says: “The arena building is a lightweight bolted steel structure clad with two independent layers of insulated panels. This allows an external envelope to perform well acoustically and thermally.


“An independent internal structure makes use of mass timber to create the seating rakes.


“There is also extensive use of mass timber to the open front-of-house concourse in the form of a reconfigurable modular hybrid steel-glulam canopy, as well as CLT modules housing food & beverage, retail, VIP lounge and cloakroom spaces.”


It’s a big if, but if a new venue is built in  Swindon along the arena’s model – a report to cabinet quotes a price of about £15m, although council leaders have said they think it can be done for less- it certainly works as a traditional theatre or concert hall.


But the space at front of house, with the sense that it is also part of the experience, part of the show, might also allow the venue to be used in more innovative ways.


We’d just need to get Benny, Bjorn, Agnetha and Anni-Frid to come along to open it.

https://uk.news.yahoo.com/whats-see-show-model-proposed-140000879.html



martes, 22 de julio de 2025

Melbourne’s bid to host blockbuster 3D virtual concert ABBA Voyage meets its Waterloo

 



Melbourne’s bid to host blockbuster 3D virtual concert ABBA Voyage meets its Waterloo

Will Melbourne finally get to host the ABBA Voyage virtual concert? It all comes down to money, money, money.
Nui Te Koha
@nuitekoha
less than 2 min read
July 22, 2025 - 6:50PM
Striking avatars of Agnetha, Björn, Benny, and Anni-Frid illuminated the Pylons of the iconic Sydney Harbour Bridge accompanied by a dazzling light display across the Bridge arch. Credit: Gravity
Melbourne’s plan to host the blockbuster 3D virtual concert ABBA Voyage has met its Waterloo.
Promoter Paul Dainty, the president and chief executive of TEG Dainty, and who had an option to produce ABBA Voyage in Australia, said protracted talks to bring the venture to Melbourne had failed.
The 3D virtual concert, featuring digital avatars of ABBA superstars Bjorn Ulvaeus, Benny Andersson, Agnetha Faltskog, and Anni-Frid Lyngstad, depicting the group as they appeared in 1979, opened in London in 2022.
Talks to bring ABBA Voyage to Melbourne have failed.
Mr Dainty and Victorian government officials were pitching for Melbourne to be the first city in the world, outside London, to stage the Swedish supergroup spectacular.
But money, money, money was a constant sticking point.
Behind the scenes, Spring St struggled with requests to provide up to a third of the estimated $100 million cost to host ABBA Voyage in Melbourne.
The hi-tech show requires a purpose-built 3000-seat venue.
Insiders said ABBA Voyage is “not going ahead” in Melbourne. The same sources said the project didn’t offer value for money for Victorian taxpayers.
“It’s disappointing,” Mr Dainty told the Herald Sun on Monday. “It’s been a long journey, but (ABBA Voyage) is a super expensive project. Maybe we can revisit it in the future.”
A Victorian Government spokesperson said: “As Australia’s major events capital, we’re always working to secure major events that boost tourism and support jobs across the state.”
Mr Dainty toured ABBA in 1977, and asked Ulvaeus and Andersson to support moves to bring ABBA Voyage to Melbourne.
“When I toured ABBA, the (Melbourne) mayor at the time gave them the keys to the city,” Mr Dainty said earlier this year “I recently said to Benny and Bjorn, ‘You got the keys to the city, and you can come back and unlock it with ABBA Voyage. It will be a homecoming’.”
ABBA Voyage’s group chief executive Craig Hartenstine is a businessman from Melbourne.
He was in Melbourne late last year to visit potential sites for ABBA Voyage – and to hold talks with Mr Dainty and state government officials.
According to ABBA Voyage figures, the show contributed £1.4bn ($A2.75bn) to the British economy between May 2022 and May 2024.










other links

domingo, 20 de julio de 2025

ABBA Voyage arena set to be demolished as developers unveil plans for housing estate...




ABBA Voyage arena set to be demolished as developers unveil plans for housing estate...

Howell Davies — 


ABBA Voyage has been a huge success since its launch three years ago, but now the Swedish group‘s digital avatars are set to be kicked out of their East London arena.


I can reveal plans have been drawn up to make way for a 1,000-home neighbourhood, which would mean the venue, constructed especially for the concert spectacle, will be demolished by the end of the decade to make way for apartment blocks.



The Swedish group‘s digital avatars will be kicked out of their East London arena

Credit: ABBA Voyage

The news is likely to devastate fans, as the group have said the concert — using state-of-the-art technology to show a younger version of the group on stage — is the closest anyone will come to seeing Agnetha Faltskog, Benny Andersson, Anni-Frid Lyngstad and Bjorn Ulvaeus perform together again.


It also scuppers hopes the Spice Girls could take over the arena, in Queen Elizabeth Olympic Park, after The Sun revealed the girl group have been planning to create their own similar digital residency.


The concert is currently booking up until January 2026, although it is expected to continue for longer.


The show’s CEO and executive producer Michael Bolingbroke previously said: “ABBA Voyage will certainly run for another couple of years and hopefully longer — in an ideal world we’d stay for ever.”


Building work on the first two phases of a major new estate is scheduled to start next year just metres away from the arena.


Real loss

That will include construction on the site of the nearby hotel and bar Snoozebox, where revellers often congregate after the performances and which only has permission to stay until the end of 2025.


The first homes on the site are scheduled to be completed in 2028, but earlier this year, ABBA’s Bjorn said he believed the arena could remain until 2029.


He explained: “We are allowed to stay in our venue till 2029, but sales might drop, you never know.”


The arena was originally built as a moveable venue, but the band later admitted they hoped the show would stay in the area.


During its run, ABBA Voyage has attracted more than two million visitors and has contributed £1.4billion to the UK economy.


ABBA make a rare appearance together as they are honoured by the King and Queen of Sweden


A spokesperson for ABBA Voyage said: “We are in constant dialogue with the London Legacy Development Corporation and Newham Council about our lease and we welcome the opportunity to stay at the arena for as long as viable.


“At present, there are no plans for any changes to be made.”


A rep for LLDC tells The Sun: "It was always planned that ABBA Voyage would only be in place on a temporary basis, while plans were being approved for a new neighbourhood that will bring affordable housing to the area.


"The new neighbourhood, Pudding Mill Lane, will be made up of approximately 1000 homes, of which 45% will be affordable homes.


"There will be a high percentage of family homes, as well as a nursery, health centre and play spaces. Pudding Mill Lane will also be home to new employment space that supports the innovation district on Queen Elizabeth Olympic Park."


It would be a real loss for it to go, but it’s certainly been a massive triumph.


https://www.thesun.co.uk/tvandshowbiz/35935278/abba-voyage-arena-demolish-housing-estate-plans/


jueves, 17 de julio de 2025

The Story of ABBA: Uncovering Their Hidden Melancholy / Jan Gradvall

 news / Jan Gradvall

TIMESTAMPS / CHAPTERS:
([00:00](https://www.youtube.com/watch?v=JZPJzakRE0A)) Introduction to ABBA's Hidden Story
([02:09](https://www.youtube.com/watch?v=JZPJzakRE0A&t=129s)) ABBA's Eurovision History: From 'Ring Ring' to 'Waterloo'
([07:30](https://www.youtube.com/watch?v=JZPJzakRE0A&t=450s)) Clashing with the Culture: ABBA vs. Sweden's 'Progg' Movement
([10:26](https://www.youtube.com/watch?v=JZPJzakRE0A&t=626s)) Before the Supergroup: ABBA's Roots in Swedish Folk and Rock
([12:44](https://www.youtube.com/watch?v=JZPJzakRE0A&t=764s)) Melancholy Undercover: The Swedish Soul of ABBA's Music
([14:43](https://www.youtube.com/watch?v=JZPJzakRE0A&t=883s)) Decoding 'Tourist English': The Charm of ABBA's Lyrical Style
([16:50](https://www.youtube.com/watch?v=JZPJzakRE0A&t=1010s)) More Than an Image: The Overlooked Musical Talents of Agnetha Fältskog
([30:09](https://www.youtube.com/watch?v=JZPJzakRE0A&t=1809s)) A Hiatus, Not a Breakup: ABBA's Unofficial Split and 90s Revival
([34:55](https://www.youtube.com/watch?v=JZPJzakRE0A&t=2095s)) The Mamma Mia Phenomenon: From a Daring Idea to a Global Sensation
([40:39](https://www.youtube.com/watch?v=JZPJzakRE0A&t=2439s)) The Enduring Legacy: The ABBA Museum and the 'ABBA Voyage' Experience





domingo, 13 de julio de 2025

Bjorn Ulvaeus unsure if Abba Voyage will continue if a bandmate dies

 Asked on Times Radio if the virtual concerts will continue if a member of Abba dies, Ulvaeus told the station: “That’s a question I’ve never had before… I honestly don’t know, hadn’t thought about that.

“It’s good you raise that question – I’ll talk to the others about that as we need to decide beforehand between us if it’s OK for all four of us to go on after we’re gone.”





-----------------------------------------------------------------------------------

Bjorn Ulvaeus unsure if Abba Voyage will continue if a bandmate dies irishnews.com — Tiempo de lectura: 1 minuto Bjorn Ulvaeus said he does not know if the Abba Voyage virtual concerts will continue if one of his band members dies. Since opening in May 2022, more than three million people have seen the show that brings to life younger versions of the Abba members through digital “Abba-tars” and a 10-piece live band in a purpose-built arena in Queen Elizabeth Olympic Park, London. The influential pop group, also made up of Anni-Frid Lyngstad, Agnetha Faltskog and Benny Andersson, were the first Swedish winners of the Eurovision Song Contest with their hit Waterloo in Brighton in 1974. Asked on Times Radio if the virtual concerts will continue if a member of Abba dies, Ulvaeus told the station: “That’s a question I’ve never had before… I honestly don’t know, hadn’t thought about that. “It’s good you raise that question – I’ll talk to the others about that as we need to decide beforehand between us if it’s OK for all four of us to go on after we’re gone.” Faltskog and Ulvaeus married in 1971 before splitting almost a decade later, while Andersson and Lyngstad also married and divorced in 1981, a year before the band broke up. Abba had a string of chart-toppers including Gimme! Gimme! Gimme!, Dancing Queen, Super Trouper, The Winner Takes It All and Mamma Mia!  Abba in Brighton where they won the Eurovision Song Contest for Sweden with Waterloo (PA/PA) The group reunited and released their first new music in almost 40 years with Voyage, their ninth studio album, which topped the UK album charts. Their songs also inspired the musical Mamma Mia!, which began in London in 1999, and became a hit worldwide sensation. It spun off two movies, 2008’s Mamma Mia! and 2018’s Mamma Mia! Here We Go Again.




----------------------------------------------------------------
"Will Voyage continue when one of Abba dies? “That’s a very good question. That remains to be seen. We are allowed to stay in our current venue till 2029, but ticket sales might drop, you never know. But is it right to continue when someone is dead? That’s a big ethical question.” 

Abba’s Bjorn Ulvaeus: life at 80 and falling for a younger woman

new

With the Abba Voyage show, Bjorn Ulvaeus is keeping his younger self alive as an avatar. But the man himself is still full of energy. Michael Odell meets him

Diptych of a man and woman at a red carpet event and the same man in a leopard-print jacket.

Bjorn Ulvaeus with his third wife, Christina Sas; photographed at Chateau Denmark, London, right. Jacket, Phix. Trousers, Dolce & Gabbana

KRESTINE HAVEMANN/@BJORNULVAEUS/INSTAGRAM, TOM JACKSON FOR THE TIMES MAGAZINE

Michael Odell

Thursday April 17 2025, 8.00pm BST, The Times


Bjorn Ulvaeus remembers it like it was yesterday. He and Abba had just won the 1974 Eurovision Song Contest with their glam-rock stomper Waterloo. The next morning, he and his wife, Abba singer Agnetha Faltskog, flew back to their home in Stockholm. They had become overnight stars but Faltskog was suddenly something else too: a global sex symbol. Those crazy satin knickerbockers. Those sad, dreamy blue eyes. And let the record also show — these were different times, so much was made of his wife’s epoch-making booty.

No wonder Ulvaeus dropped his bags and took a long look in the mirror.

“I remember the actual full-length mirror,” he says. “And I remember making a rock-solid decision: this cannot go on. This must change immediately, because this is not what a pop star looks like.”

ABBA - Waterloo (Eurovision Song Contest 1974 First Performance)


Ulvaeus thought he was too fat to be famous. On the bus to the Eurovision final at the Brighton Dome, his trousers were so tight he couldn’t sit down.

“There are many myths about Abba, but that one is true,” he says. “I nearly split my trousers and something needed to change and change it did. I began running and eating more healthily that same day.”

At least one account says Ulvaeus found it “irritating” being married to a sex symbol. Was that a part of it? Keeping up with his wife, the best assembled Swedish export since Ikea’s Billy bookcase?

“No, I don’t think I ever said I was irritated. I mean she was very… Yeah, but the reason I went on a diet wasn’t because of her. It was because pop stars were thin. And that’s what I was supposed to be. A pop star.”

Ulvaeus turns 80 in a few days and appears in remarkably good shape. That’s no surprise: we’re looking at 50 years of salad and workouts here. In the mornings back home in Sweden he sails around a lake on his surf ski (a kind of kayak), doesn’t eat until midday and in the evening works out on his cross trainer, TRX suspension cables and something called a “vibrator plate”.


photo “Ageism? At 50 people walk past you in the street. You don’t count”

TOM JACKSON FOR THE TIMES MAGAZINE. STYLING: HANNAH ROGERS. COAT, CHARLOTTE SIMON. TROUSERS, DOLCE & GABBANA. BOOTS, ROKER

He also drinks 15-20 cups of coffee a day, which might explain why he vibrates slightly too, like there’s a small electric current passing through him. Bright-eyed with a lush wave of hair and a good beard, my only quibble are his very thin ears. Considering the crucial role they’ve played in music history, I can’t believe they’re so delicate. Almost see-through.

Usually I wouldn’t bang on about someone’s body. But you can with Bjorn Ulvaeus. He likes it.

You look amazing, I say.

“Thank you very much. That is nice of you,” he replies. “I can’t believe I will be 80. But I try to follow the advice of Clint Eastwood who, when asked how he stopped himself feeling old, said, ‘By never letting the old man in.’ ”

I take this as a sign I can ask Ulvaeus about having loads of sex. Again, I wouldn’t usually pry, but in an interview four years ago he grumbled that he was “only” managing sex four times a week. And then last year he got married for the third time, to Christina Sas, a music industry executive 28 years younger than him, so…

“Oh God no, that was a joke. Move on.”

Various

photo Marrying Agnetha Faltskog in 1971

REX FEATURES

Hmm, OK. That makes the last of my warm-up questions, the one about imagining your ex having an amazing orgasm with someone else, really quite difficult. Last year the writer Giles Smith published a lovely homage to Abba called My My!. He lauded Ulvaeus’s genius for using pop to explore mature subjects such as divorce (The Winner Takes It All), the jitters of a romantic ingenue (The Name of the Game), even the parental heartbreak of watching a child grow up (Slipping Through My Fingers; Ulvaeus has two children with Faltskog and two with his second wife, Lena Kallersjo).

• My My! by Giles Smith review — how Abba conquered the world

I was 16 when The Winner Takes It All came out (it was released 18 months after Ulvaeus and Faltskog split up). The heartbreaking lines, “But tell me, does she kiss/ Like I used to kiss you?” made perfect sense, but I was puzzled by, “Does it feel the same/ When she calls your name?” I wondered why someone calling your name should sound different after you’ve broken up. My older sister slightly haughtily explained to me that Ulvaeus was imagining an ex having an earth-shattering orgasm with a new lover.

“Oh, well, that’s reasonable,” he says, taking a big restorative slurp of his coffee.

But Ulvaeus is writing from the point of view of a woman. That’s the mark of a great writer, I venture, being able to imagine yourself as a woman and then imagining how she’d feel about her ex’s new girlfriend climaxing?

photo SWEDEN-MUSIC-ABBA

Abba at the Eurovision Song Contest in 1974

AFP/GETTY IMAGES

“Thank you and yes, why not? Why not indeed imagine it?” he offers, a little uncertainly. “I wrote that song very quickly while drinking whisky during my drinking days [he gave up alcohol in 2007]. I rarely wrote while intoxicated because you look at the words the next day and it’s garbage. But most of The Winner Takes It All is actually good. It’s not a personal story, but I tried to find the detail of a real human pain.”

We are sitting in the bar of the Chateau Denmark hotel in London. It’s on Denmark Street, once known as Tin Pan Alley, and it fairly throbs with pop music history. The Rolling Stones recorded their first album here. Elton John and Bernie Taupin wrote Your Song on the roof of the building next door. Bowie, Jimi Hendrix and the Small Faces used to hang out at a club on this street and the Sex Pistols once lived at No 6 (Ulvaeus is rather improbably staying in the hotel’s I Am Anarchy suite).

Ulvaeus started playing guitar after receiving one for his 11th birthday. For reference, that was in 1956, when Elvis was in the charts with Heartbreak Hotel. Now he finds himself at the nexus of extraordinary technological change.

photo Hootenanny Singers

Ulvaeus, centre, with the Swedish folk group the Hootenanny Singers, circa 1965

REDFERNS

Over in east London, the virtual Abba show Voyage has now played to more than three million fans, way more than ever saw them live in the UK. Ulvaeus and the other former Abba members don’t have to do anything. He can go out on his kayak. The money rolls in. And yet Ulvaeus is still very concerned about the impact of tech on the future of music.

As president of the International Confederation of Societies of Authors and Composers he is advocating for creators’ rights in the age of AI, trying to make sure that songwriters and musicians get fairly paid. “AI is changing all the creative industries beyond recognition,” he asserts.

• Abba stars share in £1.4 million dividend from soaring Mamma Mia! profits

Before Abba, Ulvaeus served a long apprenticeship playing in various bands and writing songs for other artists. Today that apprenticeship is more difficult. He wonders if he would even make it in today’s world.

“I mean, I’d like to believe I’d have tried hard and broken through, but who knows? I might be an Uber driver telling you about this song me and my friends are working on called Dancing Queen that you never get to hear. In the old days, you had a couple of hits and then you had access to all the national radio and TV shows. You had a career. You have to do so much more to be heard above the noise now.” TikTok and YouTube and all the “noise” are one thing, but he’s not a Luddite. Ulvaeus used AI to create the avatars for Abba Voyage. But I can’t help wondering if shows like these might become part of the problem. After all, others are soon to follow: Ulvaeus is helping US rockers Kiss launch their own avatar show in Las Vegas in 2027. And then there is the Abba stage show Mamma Mia! (it has been performed in more than 60 countries), plus the dining experience Mamma Mia! The Party (currently in London, Stockholm and Rotterdam).

Abba’s avatars

ABBA VOYAGE

Is this the future? Legacy acts dominating for ever? “That might be part of it: young people today are finding music from 1970 or 2010 or now. It’s true that when we started, we didn’t have to compete with decades of other music.”

Will Voyage continue when one of Abba dies? “That’s a very good question. That remains to be seen. We are allowed to stay in our current venue till 2029, but ticket sales might drop, you never know. But is it right to continue when someone is dead? That’s a big ethical question.”

If Voyage is still playing in 100 years’ time, would it bother you personally?

“No! Did Agatha Christie have a problem with The Mousetrap? [Christie’s play has run in London since 1952 and recently celebrated its 30,000th performance.] When you’re gone, you’re gone but… my kids might appreciate it.”

The Bjorn Ulvaeus avatar performing in Voyage is modelled on him during Abba’s Seventies pomp, when he was in his thirties. It’s intriguing that while this virtual eternal youth goes out and does the work, the pensioner in front of me feels very passionately about “ageism”.

photoSandi Toksvig officiating at his wedding to Christina Sas, 2024

KRESTINE HAVEMANN/@BJORNULVAEUS/INSTAGRAM

“You reach 50 and people just walk past you in the street,” he says. “They don’t really see you. You don’t count. I think society wastes so much by discarding the skills and wisdom of the elderly. My father-in-law went from relevance to irrelevance from one day to the next.”

Is having a “for ever young” persona leaping about and performing the hits a sort of “F*** you”? “Yes, it’s the perfect rebellion,” he says, chuckling.

‘It was love at first sight’

And yet sometimes reality bites. In 2022 Ulvaeus divorced music journalist Lena Kallersjo after 41 years of marriage and very soon after began dating Christina Sas, who was working on the release of the Abba album Voyage. The age difference really troubled him.

“It was love at first sight, at least from my side,” he says. “But immediately I had severe problems with myself and the age difference. When a man or a woman meets someone much younger and falls in love they think, ‘Am I doing the right thing?’ But in the end I just gave up. I decided, ‘It’s up to her — if she wants to live with someone older and we love each other…’ Age doesn’t come between us now — we rarely even talk about it.”

Wow. Love at first sight aged nearly 80 — what does that feel like? “Oh, well, there’s this person and there’s this attraction. You think, ‘What is this?’ And then, when you see it in the other person’s eyes… It’s spectacular. It’s fantastic. But you have to be very open, with your antennas out. You have to be adventurous and ready to take a chance.”

photo SWEDEN-ROYALS-MUSIC-AWARD-ABBA

Ulvaeus, Anni-Frid Lyngstad, Faltskog and Benny Andersson receive the Royal Order of Vasa in 2024

AFP/GETTY IMAGES

Ulvaeus and Sas married last September. His friend, the Danish-born comic and broadcaster Sandi Toksvig, officiated at the ceremony in Copenhagen. Sas is with him in London today. She is warm and friendly. I would say he has a type: pretty, blonde and blue-eyed.

Last night they went to see Sir Elton John and Brandi Carlile perform at the London Palladium. “Elton has a particular way of passionately hammering at the piano,” Sas tells me. “Which is remarkable for a man his age.”

• Sandi Toksvig: Why I played a part in Bjorn from Abba’s wedding

She catches herself. “You see, I’m doing it — I’m being ageist! Why shouldn’t he still play the piano as well as he always has?”

To be honest, I think there are perfectly solid gerontological reasons why: Elton John is 78 and recently told this newspaper he is almost blind. Anyhow, Sas and Ulvaeus make for a remarkably ordinary couple. No one recognised them in Waterstones where they went shopping for books this morning. No one recognises them in the bar.

But then again Ulvaeus has never been particularly starry. He embodies the Scandinavian creed known as janteloven: everyone is equal and even if you enjoy success, never get too big for your boots. According to the definitive Abba biography, Carl Magnus Palm’s Bright Lights Dark Shadows, when Abba won Eurovision in 1974, Ulvaeus was a bit snotty about English attitudes to success.

pohto

With Agnetha Faltskog, 1970

REX FEATURES

“I don’t want to become a nouveau riche like many of the English artists,” he said. “They wallow in luxury; they don’t know what to do with their money.”

But how does it work when you’ve enjoyed the sort of success Ulvaeus has? When he split from his second wife, the details of their pre-nup were published in Sweden. It stipulated there “must never” be less than 20 million kroner (about £1.6 million) in their joint bank account. These days Ulvaeus is reputedly worth close to £250 million.

I must admit I’m trying to match the guy coffee for coffee, so what I’m thinking just comes straight out of my head.

Man alive, Bjorn, what’s it like having £250 million in the bank? “Past a certain point, it [money] doesn’t matter… First of all, it’s freedom from the worries most people have — jobs, bills, the rent. That is so great. I can remember the moment I first felt, ‘I don’t have to worry about that any more.’ After that, it’s wonderful if you find a project that really needs financing. To be able to dream and let an idea develop and then actually do it — that’s what money is for. Like Mamma Mia! or Voyage [the latter employed 800-plus digital animators and cost a reputed £140 million to develop]. But these projects are not just to make money — it’s to do something worthwhile and fun.”

What is the most rock’n’roll thing Abba ever did? “I can assure you there are no hidden Abba scandals, no blemish on our image…”

Go on, there must be something. “There were instances when we didn’t leave hotel rooms in quite the order they were in when we came,” he says rather adorably. “But nothing like the Who driving a Rolls Royce into a swimming pool.”

The darker side of fame

Abba were always as wholesome as a herring picnic in a Scandi forest. That’s what the various Abba shows celebrate: their manifest innocence. But in the background, there was some dark stuff.

A 2023 Prime Video documentary, Take a Chance, tackled Agnetha Faltskog’s scarcely believable interactions with her Dutch stalker, Gert van der Graaf, a porky water-pump factory worker who drove 1,000 miles from Holland to Faltskog’s home in Sweden in the late Nineties. After van der Graaf bombarded her with gifts and letters he moved to be near her and the pair ended up having a two-year relationship. Eventually realising her mistake, Faltskog called the police, who discovered van der Graaf living in an unplumbed cottage with a bucket full of excrement and a dead turtle.

• I still miss Abba’s Agnetha, stalker claims in Amazon documentary

Similarly bonkers is the story of the “dark-haired one”, Anni-Frid Lyngstad. She is the daughter of a Nazi sergeant, Alfred Haase, who had a relationship with her mother, Synni, while stationed in Norway during the Second World War. After the German defeat, Haase disappeared and, aged two, Lyngstad was effectively orphaned when her 21-year-old mother died of kidney failure. Raised by her grandmother, Lyngstad moved to Sweden, became a jazz singer and eventually joined Abba.

“I don’t like to compare us to the Beatles — to me they were three of the greatest songwriters ever who just happened to be alive in the same place at the same time. But yes, in our own way, the slim chance of us getting together still amazes me.”

Ulvaeus says they all keep in contact privately (he and Andersson still work together), but he looks a little forlorn telling me they may have met for the last time as a quartet.

That was last year when they were awarded Sweden’s Royal Order of Vasa for “very outstanding efforts in Swedish and international music life”. It’s a bit like being knighted. Importantly, though, the honour is bestowed by public vote.

“If I started out now, I might be an Uber driver writing songs”

TOM JACKSON FOR THE TIMES MAGAZINE. GROOMING: LUCIE PEMBERTON USING HOURGLASS. SUIT, LOUIS VUITTON. SHOES, DIOR

“And that felt so good, considering the initial reaction to us was not good,” Ulvaeus says, smiling.

Yes, after they won Eurovision, Abba were derided in Sweden as uncool, a bit too successful. “It was uncool to admit liking Abba,” he recalls. “Sweden was going very left, very socialist in the early Seventies and Abba was Mammon. During that time you were supposed to take a stand in your lyrics and I refused. I thought it was more interesting to explore relationships. I was uninterested in putting party politics in the lyrics. How boring!”

Ulvaeus is definitely a political animal now. That’s one of the reasons he wanted to do this interview. “I am really very worried about Europe and democracy and the rise of the autocrat,” he says.

I mention that Russian dictator Vladimir Putin is supposedly a fan (he reportedly booked the Abba tribute act Bjorn Again for a private show at the Kremlin).

“I didn’t know that. I can imagine the scene with him dancing around the Kremlin,” he says, laughing, partly delighted and partly appalled. Actually, no, mostly appalled. And you can see why.

Late last year, every Swedish household received a 32-page leaflet, If Crisis or War Comes, warning them to prepare for a possible armed conflict. “Military threat levels are increasing,” it announced. “We must be prepared for the worst-case scenario — an armed attack on Sweden.” Tips included stocking up on non-perishable food and water, keeping cash in hand and growing fruit and vegetables.

“Can you believe it? We must mentally prepare for war,” Ulvaeus marvels. “I remember during my teenage years and my early twenties, during the Cold War, I asked myself, ‘Will I live under a dictator? Will I adjust or join the resistance and risk my life?’ And I thought, ‘I would rather die than live under a dictator.’ Of course, I was a young man. But already again I’m thinking, ‘How would I react?’ ”

But it’s not just autocrats that are bothering him; it’s what he calls the self-censorship of liberal democracies too.

ABBA Voyage, only at the ABBA Arena, London, UK | ABBA Voyage


“It really bothers me you cannot make Monty Python’s Life of Brian [the 1979 spoof of the Bible story] in a Muslim context for fear of violence. I find it demeaning to not be able to say this or that. Free speech is in danger. And I really feel, with autocrats on the rise, even in America, Europe needs to step up and unite.”

As a teenager, Ulvaeus did national service. He thinks it might be time for that again. “I am a proud European,” he says. “And now it seems we are the last bastion of liberal democracy. Let’s face it: we are alone and I think we should build a European defence force.”

By now, I’m so wildly caffeinated that I’m scarcely able to believe I am discussing military strategy with a quarter of Abba.

Ulvaeus says he wants to use his platform to educate kids about democracy. Bear in mind, this is the guy who turned down $1 billion for Abba to perform in 2000. Now he’s offering to tour school gyms to speak up for Europe, democracy and free speech. He literally has a “Euro vision”.

“I really wish the UK didn’t leave the EU,” he says. “Although I think you guys are still kind of European. And this is so important I feel I have to help. In Sweden, I made a democracy education programme for schools which will be launched in June. I want children to realise this thing that we breathe every day — freedom, respect for institutions — is at threat. Imagine the world these dictators want: you lose your job because you complain about the government. You pay taxes but they are stolen or you can’t get justice because the law has become an untrustworthy institution. We are closer to this than we know.”

photo"Mamma Mia! The Party" 5th Anniversary Gala – Arrivals

Ulvaeus and Sas, 2024

GETTY IMAGES

If all that sounds a little sombre, well, that’s because it is. Mostly, though, Ulvaeus is grateful and amazed at all the luck he has enjoyed in life. He originally intended to be a civil engineer and only pursued music because his mum secretly entered him into a competition just as he was about to quit his band the West Bay Singers and go to college (his entry won and he met mentor and manager Stig Anderson as a result).

“Again, such luck,” he says. “And then to meet Benny and for us to meet these incredible ladies with the perfect voices.”

Ulvaeus is about to fly to Mallorca with 20 members of his extended family to mark his big birthday. But on the actual day itself he has no special plans. “No, no party with speeches. I don’t like that. I find it very difficult to sit and listen to people praising you. I’m too shy for that.”

When we finish talking, he’ll fly home with his wife. They’ll have a quiet evening. He thinks they’ll have salmon for supper. Then he might do his evening workout in the gym watching an action movie. Meanwhile, his young avatar will be on stage in London keeping the music alive.

“I would like to speak to the man I was at that age and tell him the things he worried about were not worth worrying about,” he says. “I was so insecure — what a waste of time! Relationships with other humans are the only thing that really matter.”

And what do you think your avatar would say to you?

“Hey, old man,” he says, laughing, “how come you get to sit at home while I have to do all the work?”

Bjorn Ulvaeus will be speaking at SXSW London (June 2-7; sxswlondon.com)

https://www.thetimes.com/life-style/celebrity/article/bjorn-abba-interview-younger-woman-vxmbmtphp

on abbaregistro blog: https://abbaregistro.blogspot.com/2025/04/abbas-bjorn-ulvaeus-life-at-80-

and.html




ABBAregistro News and more...
ABBA Voyage

ABBA in Stockholm

ABBA in Stockholm
todo sobre ABBA Voyage - all about ABBA Voyage click on the image

1974

1974

2016

2022

2022

2024

All photos of Instagram

Stockholm

Björn at Stockholm

2025

ABBA Voyage 2022

3rd Anniversary