Actually, it is thrilling except for some hideous technique on both their parts. Tebaldi's phrasing is from some magical place; and her coloring! But, one never knows when pitch is going to go or when that straight-tone is going to come in. The conductor is STUPENDOUS! I have never heard applause like this except for Nilsson and Rysanek. Thrilling.
I was 19 when I saw them in Chenier. Got all their autographs. Corelli, Tebaldi, and Battistiani. Only more awesome when I saw Corelli in Tosca.....I melted....
This wasn't with Bastianini. This was with Colzani, as I recall, who was also quite good, under-rated, in fact, in my opinion. Also, as I recall, originally it was supposed to be with Gobbi so Colzani was a replacement, though I believe the replacement happened well before the performance and was not a last-minute thing.
Now that’s opera. Took my breathe away. My uncle was at that performance. What glorious voice. There are no voices like that today. They are all gone. I have loved these voices all my life♥️♥️♥️
Bravissimi Corelli e l Tebaldi ancora quarantenni chr nonostante la registrazione di allora distorca un po' il suono, fanno risaltare la loro voce giovane e cristallina che manda in visibilio il pubblico . Corelli e la Tebaldi i migliori cantanti di sempre.
@@fabriziogarzi9892 strano secondo voi poteva fare tutto...leggere la mano fare i tarocchi indossatrice massaia...completa in tutto...ma tanto infelice...a questo punto meglio la vita della Tebaldi ha cantato in tutto il mondo.. anche se non aveva l'estensione la recitazione l'allure dalla Callas...riempiva i teatri poi tornava alla sua vita soddisfatta e felice...
One of the greatest if not the greatest opera performance of the 20th century at the Met. It will go down in history as such. Talent of this kind will never be seen again .
Questa romanza cantata da due grandi riassume x me il significato di tutta la mia vita vicino alla mia compagna e gli anni non sono pochi grandissi❤ Renata e franco grazi🎉
Bonjour merci pour ce superbe duo des voix uniques rares de nos jours UMR Corelli incomparable et superbement accompagné par la superbe tebaldi deux étoiles a jamais au firmament des grands de l Opéra merci vraiment pour ce joyau merci
Thanks for posting this gem. I remember listening to this broadcast, still fairly new, just two or three years into my opera listening. The entire performance was on fire and the electricity between stage and house was palpable, even over the radio one felt it. It is in my memory one of the most most most exciting Met broadcasts I ever heard. How I wish the full opera could be posted here.
La voce calda della Tebaldi ricca di suoni angelici, copre le sue difficoltà negli acuti dal si naturale in poi, compensava con l'intensità interpretativa in tutti i personaggi e la rendeva grande meravigliosa. Corelli semplicemente TITANICO in tutti i ruoli, ma in A. Chenier il più grande di sempre prodigio della natura umana. 🙏🙏🙏💕
It can't be repeated. The two greatest voices of the 20th Century are now gone and no Tenor or Suprano these days can even come close to this degree of talent.
Grandissimi interpreti!!! In finale Tebaldi soffre un po la partitura ,con dei Si naturali un po fissi,Corelli molto a suo agio! Uno dei più grandi Chenier
Gracias, muchísimas gracias a la técnica que no permite escuchar a estos insuperables cantantes que, al parecer nunca se repetirán...Tebaldi fantástica "la voz de un ángel" impresionante junto a Corelli la más grande voz que se paró nunca en un escenario...con razón casi botan el Met con una ovación que se merecían sin duda alguna.
Exciting indeed but Tebaldi anyway is in appreciably better form in a live from Wien CHENIER with Corelli from 1960. This performance may still be available to purchase & is also on You Tube. Not that it matters in the excerpt here but the complete Wien performance has the added bonus of Bastianini as Gerard in superb form. He was at this time perhaps the greatest exponent of this role in my opinion.
A bygone era when opera was really grand, and singers sang with god-like voices. Most of what we have on the opera stage today is mediocre at best. Riposa in pace.
I agree with you 100%. Thank you hammill88. Corelli and Tebaldi performed this magnificent duet in front of President and Mrs. Kennedy on March 16 1961 at 10.30 AM . (Ceremony celebrating the Centennial of the Unification of Italy, State Dept. Auditorium ; TV broadcast NBC ) One copy of the recording should be at the Library of Congress, Washington D.C.; another at President JFK Presidential Library and Museum, Boston, MA. A copy may also be stored in the archives of NBC. Can somebody find this video ( or at least the audio ) and post it on YT? Thank you very much. Eugenia Alverno
I am perfectly aware of Tebaldi’s difficulties, which became progressively worse after ‘Gioconda’, but if you’ve listened to virtually everything she sang that has been preserved, she is not flat here. What people confuse is being under the pitch and singing a note ‘fisso’. Tebaldi’s high notes were always ‘fisso’ from the start of her career. When in her prime her ‘acuti’ sounded most like Flagstad. Very un-Italian, as was her narrow vibrato in the middle voice. Rysanek noted this and remarked that she ‘sang like a German’. Maybe some genetic throwback to the medieval Germanic ancestry her surname indicates! (One of her baptismal names was Clotilde; her father was Teobaldo Tebaldi.)
I want to premise that my answer is in no way polemical and I completely respect what you have written. However, I do not agree that Tebaldi's high notes have always been 'fisse' throughout her career. If one hears her famous B flat in Pace mio Dio (both the pianissimo and the fortissimo); some high C in the second and third acts of Tosca; the high B in Margherita's aria in Mefistofele (live in 1950 in San Francisco even with a superlative diminuendo); the high C in Eterne a me d'intorno in the 1953 live performance at La Scala and the surviving live performances of Cieli azzurri between 1951 and 1953, the high notes are simply powerful, magnificent, in tune and with the right vibrato. Not to mention the high C incomparable for power, beauty and tightness in the Minuetto of Manon Lescaut live in 1959 and her high notes in pianissimo in the third act of Aida.
Here, of course, the high note is a bit 'fissa' (but as you wrote, perfectly on pitch). Here we are after 22 years of career, the study of a new vocal approach, but the beauty of certain passages and the overall pathos of the performance in my opinion are simply fantastic.
@@hammill88 Yes, you are quite right. I was thinking of her at full throttle, as in ‘Tosca’s ‘io quella lama’, or the C’s in the ‘Inflammatus’. I find the tone ‘fisso’ always at this dynamic. When she had the floating ability above the staff, as in the early ‘Aida’s, and the Verdi ‘Requiem’, no one has ever sung with such gorgeous shimmering tone at a p and pp level. But as she became forced to sing these high notes f and ff- I notice it here in the note just before ‘i stessi numi avrem’ - which she has lost the ability to sing p, the sound turns straight. Another pedantic observation. On the final B (it sounds like the duet is ‘in tono’) what I hear is a fixed sound of enormous power, which perfectly matches a spot in Corelli’s faster oscillation. If you focus on that fact, I hear them as singing the same pitch. One last source of great pleasure and great regret. Wasn’t it wonderful when there were singers who could sing very, very loud?
@@ransomcoates546 My personal taste was formed on big voices, with volume and power; so I totally agree with you. Moreover, it must be appreciated that Tebaldi was always able to offer a very audible sound, perfectly projected from low to high notes, from pianissimo to fortissimo. Never overpowered by the orchestra, never...
@Noack Somewhere Sorry if I repeat myself. ‘Fisso’ means ‘fixed’, in this case without vibrato. If you listen to the Italian sopranos of Tebaldi’s youth like Muzio, Tassinari, Caniglia, and many others, they all sang with a pronounced fast vibrato. Tebaldi’s voice did not work this way. The biggest contrast curiously can be made with Tebaldi’s teacher Carmen Melis, whose throbbing vibrato is evident in all her recordings (as is her complete lack of chest voice or actually low notes of any kind). Tebaldi sang with an uncommonly narrow vibrato for an Italian soprano - the closest to her in this quality, I think, was Augusta Oltrabella. Tebaldi’s top notes at forte dynamic were especially ‘straight’. Maybe a help is to think of an Italian tenor who also sang this way, without, however, a phenomenally beautiful sound - Giovanni Martinelli.
Vicino a te s’acqueta L’irrequieta anima mia Tu sei la meta d’ogni desio D’ogni sogno, d’ogni poesia! Entro al tuo sguardo L’iridescenza scerno Degli spazi infiniti Ti guardo; in questo fiotto verde Di tua larga pupilla erro coll’anima! Per non lasciarti son qui Non è un addio! Vengo a morire con te! Finì il soffrire! La morte nell’amarti! Ah! Chi la parola estrema dalle labbra Raccoglia lui l’Amor! Tu sei la meta dell’esistenza mia! Il nostro è amore d’anime! Salvo una madre Maddalena all’alba ha nome Per la morte Idia Legray Vedi? La luce incerta del crepuscolo Giù pe’ squallid’androni già lumeggia Abbracciami! Baciami! Amante! Orgoglio di bellezza! Trionfo tu, de l’anima! Il amor, sublime amante È mare, è ciel, luce di sole E d’astri È il mondo! È il mondo! Amante! Amante! La nostra morte è il trionfo dell’amor! La nostra morte è il trionfo dell’amor! Ah benedico, benedico la sorte! Nell’ora che si muore eterni diveniamo! Morte! Infinito! Amore! Amore! È la morte! Ella vien col sole! Ella vien col mattino! Ah, viene come l’aurora! Col sole che la indora! Ne viene a noi dal cielo Entro in un vel di rose e viole! Amor! Amor! Infinito! Amor! Amor! Andrea Chénier! Son io Idia Legray! Son io! Viva la morte insiem!
When was the last time there was this kind of audience reception at the Met? A near riot in the house! Sadly the days of glorious singing are well behind us. Now it’s mediocrity, and that’s being generous. Sad.
Corelli revienta a Tebaldi sin compasión en todo el duo ! Él en sus años de esplendor vocal tenia que estar por encima de todas las sopranos por eso, era el .....Príncipe!!!
Beautiful on pitch singing from Corelli, but all of Tebaldi's high notes above an A are strenuous and most of the time under pitch, not talking about the final on insiem! where she is totally flat, it's even more obvious with Corelli's perfectly pitched note.
I was at this performance and have known it for 55 years and I totally disagree with you. Tebaldi was certainly not in her prime when she sang this. But “ most of her high notes” flat? Sorry to disappoint you, but no, and the ones that do start flat get pushed up to pitch.
I'm sorry, but I totally disagree. One can perhaps say that the high notes are on the edge; that they lack the fullness and roundness of the middle notes; that Corelli's voice sounds fresher, but not that Tebaldi is flat. One must also take into account that we are after 22 years of career and the overall voice and interpretation are still extraordinary.These are only prejudiced statements of an ear that does not want to hear the beauty (and there is a lot of it) in this vocal performance.The best response to what you have said is given by the audience, which as always gives an incredible ovation to this unique and unrepeatable artist.
@@richardholmesmusic2128 I'm not disappointed at all, but simply would like to remind you that a note does not start flat, it starts under pitched, then if not corrected it becomes flat. With Tebaldi, the problem with her large voice, is that when she reaches for a high note, to keep the volume, all her body tenses to get her diaphragm to push the sound out and that is when she most of the time loses control over the pitch, hoping that whatever comes out after a strenuous and ultimate effort will be acceptable. Pay close attention on a live video when she has to sing a high note, she straightens up, puts a foot forward and braces herself, then with a tense face and throat delivers whatever she can, for the rest she compensates by producing the beautiful sweet tones she is known for and that audiences adore.
Corelli never sounded better than he does here!!! Tebaldi's high notes fail her and they are simply a cringe fest for the listener. Love her earlier performances from the 1950's.
