The great Renata Tebaldi. She will always have a special place in the history of opera. A voice of extraordinary beauty and expressing emotion straight from the heart . Always noble , always expressive.
I'm a total Callas fanatic, but I must admit that Renata Tebaldi, heard here in her early prime, produces tone that emerges like pitchers of cream. God--- what a gorgeous voice she had --- and such magnificent phrasing. Callas' supremacy certainly doesn't make Tebaldi any less magnificent than she was. I've always loved and admired her.
@@beetleluvr That's sheer nonsense. Both were totally different and dominated different repertoires. Tebaldi never could sing Norma, Medea, Armida, La Sonnambula, I Puritani, Il Pirata, Lucia di Lammermoor, Anna Bolena, Poliuto, Lady Macbeth, Abigaille in Nabucco, Constanza in Mozart's "Die Entruhrung", Fidelio, Callas had a demonic genius in infusing her roles with venom, passion, and pure musicianship. She also possessed a three octave range and a fabulous coloratura technique. She was certainly able to sing Tebaldi's repertoire, but Tebaldi could never have sung the repertoire of Callas. No one could at the time.
@@Zva26 non capisco perché voi callasiani dovete sempre dire che la Callas era migliore della Tebaldi sotto ogni suo video... Chi vi ha chiesto niente... Avete paura... Siete patetici...
Phrasing, diction, pathos and a voice like no other in its absolute prime. It's hard to believe such glorious singing was ever possible. Everything you ever wished for in this repertoire.
@@brumgab too much passion I guess. She rarely used these glottal attacks but here we have two together. lol. Caballe also used them a lot especially in her early years.
We have us also to prepare for the celebration of the CENTENARIO di nata di Renata Tebaldi, coming soon on the 1 February 2022. We are remembering her as la voce di un angelo per sempre. We are also thankful to RU-vid and to those opera lirica enthusiasts they post so wonderful videos about the stupenda, imensa Renata with her beautiful voice, breathtaking! Renata nostra, You could recognize in the Heaven that we are enjoying further listening each one of your legendary performances, and we will never forget you, what you have been giving us permanently in the past, today, and in the future, as long as we are alive!
The lyric spinto period of Tebaldi‘s career was, IMO, the most satisfying & lasted until the beginning of the 1960s. After a year or so where she overcame some serious vocal difficulties Tebaldi reappeared as primarily a full spinto soprano, with some dramatic roles, the results of which were for the most part successful. When she tried out Mimi from her lyric period it was not like it had been but TOSCA, GIOCONDA, MARGUERITE (MEFISTOFELE), even DESDEMONA & MADDALENA (ANDREA CHENIER) were well received while MINNIE & AMELIA (UN BALLO IN MASCHERA) somewhat less so. I still cherish moments in her late career, especially a Live MEFISTOFELE from 1966, but what is heard in these selections is the Tebaldi I most fondly remember.
Una voce così non c'è mai stata e mai ci sarà. Renata è unica, ineguagliabile. Adoro la Callas, le sue interpretazioni, i suoi acuti vertiginosi, ma alcune l'hanno eguagliata, come la Sutherland, ma la voce di velluto della Tebaldi è ineguagliabile. Fa incaponire la pelle. Poi la sua tecnica, il suo portamento, la sua pronuncia.....mai una rivale. Si, la Caballe', che tutto ha cantato nella lirica, egregiamente, ma non al suo livello.
5 лет назад
Incredible. The most beautiful voice in my opinion
I find it disheartening that people with preferences must denigrate all others. I am a Callas devotee. For me she reigns supreme above all. BUT, in all honesty just because I prefer Callas does not mean that I can not appreciate and admire others. Tebladi was great also in her distinctive way.
Brava Viviana, la Tebaldi fu assieme a Rosa Ponselle ed a Maria Callas una soprano di tutto rispetto del secolo scorso. Tre incantevoli voci simili ma non uguali.Purtroppo le registrazioni di 80-90 anni fa non rendono giustixia alle loro voci.
Tebaldi made her American debut in San Francisco with Aida in 1950. Merola, the conductor of this recital, ran the San Francisco Opera so it is safe to assume this was some sort of program performed in San Francisco, possibly a radio concert (they did them so waell in those days). Isn't it wonderful!
Yes, she was a Spinto, a true Spinto. No, she did not have a magnificent technique, which is what got her into so much trouble often. Her phrasing is unmatched. The colors in that stunning sound are what are magnificent. Above the staff there were often big problems. This recital, however, so early, is a dream. Thank you.
Nonsense , and garbage what Josehcollins6033 wrote, Tebaldi voice was all perfect, througout the whole range , the same color, the same core from top to bottom.Just Tebaldi's art is based in the ability to sing from middle C to top C without changing the quality of her voice. Tebaldi voice does not change on top Tebaldi voice does not loses quality in high notes in full voice , the timbre never gets impoverish, never a pp is opaque, her vibrato is so perfect so unwavering that she simply has no irregular vibrations in the high notes, her A natural, Bflat, B and C are "granitic" huge and full of color. Callas's high notes are defective, wavering vibrato, irregular vibrations, clear in color. and strident .Caballe high notes in full voice are claer in color and strident and not beautiful
People should read about her ”angelic voice” and how this story came up. It wasn’t because her timbre was angelic (even if it was maybe) but how the conductor wanted her in that recording. More like ”coming from above”.
Tebaldi stated that as they were doing rehearsals of the Verdi Requiem for the reopening of the Scalla in 1946 she was sitting among the sopranos of the choir and Toscanini called "ma fatemi venire quella voce d'angelo".
This is great singing. Her florid technique isn't quite ideal for bits of the Mefistofele. But other than that, this is the ideal voice for this rep. It's also striking how aggressively she digs into her chest register here, including in the Willow Song and even the Ave Maria. Her Desdemona here is no shrinking violet.
But Desdemona is supposed to be supremely vulnerable, fragile, near hopelessness, begging the Virgin Mary for help. Of course this is harder for the great Tebaldi to capture.
Ese agudo terminado en un pianísimo interminable es un milagro. De hecho toda el aria de Mefistofele es un milagro de dicción, técnica, belleza de voz, homogeneidad de los registros, dramatismo... ¡y sólo con 28 años! Era una única.
Perfect control! Great vocal production, the only tiny thing is that due to youth probably she makes some not really desirable switches to the chest register, which she obviously doesn't feel comfortable doing.
