Verdi - Requiem, Libera me - Renata Tebaldi, Toscanini, La Scala - 1950 

Assolutamente si!

Scusa la curiosità. Chi è questa signora in pieno delirium tremens? Grazie

COME BACK it is LENT 2024 COME BACK

podes dejar de hablar forradas infeliz

@@evangelizadordeoperafans7133 What is ‘unhappy’? Perhaps you could write in Italian; sorry I don’t know Spanish (no operas).

@@ransomcoates546 you wrote tto much nonsense things about Renata Tebaldi in internet, I invite you to retire of writing about opera, you know very little about singing

@@evangelizadordeoperafans7133 How kind! I fear the radical Tebaldiani do become a bit defensive in their attitudes. Did you hear her in the theater, by the way?

@@ransomcoates546 Who do you want to run to telling me if I saw her in the theater? Did you see Caruso and Ponselle? Is it necessary to have seen Schipa or Ruffo or Gigli in the theater to know who are the great singers and the bad singers? I don't need to have seen Tebaldi in the theater because from her recordings I can hear that she is the best because of how she sings and because of her voice. And Tebaldi is one of the most scrupulous singers who retired with the "sound" of her voice intact and with her technically well-studied voice (as evidenced by her last complete opera recording Un ballo in maschera from 1970, with all the notes). without reaching "struggles" or painful things like Caballé, Scotto, Ricciarelli, Callas, Rysanek, Varnay, De Los Angeles and many more have done.

Toscanini effettivamente in una lettera ad un'amica si dichiarò insoddisfatto, ma di se stesso, immalinconito e perplesso per qualche attimo di vuoto nella sua proverbiale memoria. Va detto, però, che l'orchestra lo aveva seguito senza problemi e nessuno del pubblicò se ne avvide....

In effetti ci furono nel corso dell'esecuzione delle vistose sbavature orchestrali (Tuba mirum ad es.), oltre ad un paio di acuti fuori tono di Cloe Elmo (grande contralto, ma dalla voce molto accorciata in alto rispetto agli esordi), che non poterono non irritare il maestro. Ovviamente questo nulla toglie alla storicità dell'esecuzione e alle prestazioni di Prandelli e Siepi, per non parlare della Tebaldi, che supera se stessa (e probabilmente tutte le altre).

This Tebaldi/Toscanini recording is a classic.

This is the one. Nothing else to say. Nothing else to listen to after this. Bravissima!

In una partitura tempestata di segni dinamici che cambiano da una battuta all’altra.

@@80Mrmirko Parole sante!

Stupenda …Toscanini…! ❤

Callas insuperabile propaganda si, ma Callas voce ? hahahaha

Toscanini dicit

ignorante, o dó de Tebaldi não é baixo, o dó de Tebaldi é perfeito, não tem vibrações irregulares, o dó de Callas é sempre feio, dançante, de cor clara, estridente

Renegado brasileiro, devia ter vergonha. O público do Theatro Municipal do Rio delirou com a voz de Tebaldi, e a voz de Callas não impressionou ninguém em seu país. Callas não fez sucesso no Brasil porque sua voz não valia nada comparada à voz de Tebaldi. Tebaldi tinha 2 vezes a voz de Callas

Callas could not have sung this, will not suit Callas.

@@claudemichaud6966 It totally would have suited Callas. This was late Verdi, as was Aida. The first soprano to sing the requiem was also the original Aida. Maria Callas was a phenomenal Aida. Very similar parts, vocally speaking. So absolutely, Callas would have been great in this piece!

@@artdanks CALLAS DID NOT SING MANY AIDAS IN HER CAREER.....THOUGH I AM SURE SHE WOULD SING IT BEAUTIFULLY. THE REQUIEM WOULD ALSO HAVE SOUNDED GREAT SO I FIRMLY BELIEVE THAT CALLAS WOULD NOT DO IT....BECAUSE SHE PROBABKY HEARD TEBALDI PERFORM IT ......AND SHE DECIDED BEST TO STAY AWAY... TEBALDI HERE IS SUPERHUMAN THE DEEP EMOTION AND SPIRITUAL SPONTENAITY IS OVERWHELMING.

@@luigicorvi1661 Tebaldi does do a magnificent job here. I am not trying to at all take away from that fact. But I hardly think that would have stopped Callas from doing this. She did not consider Tebaldi to be a threat any more than Tebaldi thought Callas was. They were both magnificent artists, and very different from each other. As it should be.

NO YOU MISUNDERSTAND ME. RENATA WOULD NOT SING NORMA AND MANY OTHER ROLES BECAUSE SHE FELT THAT OTHER SINGERS WERE ABLE TO DO FAR MORE THAN HER WITH THOSE ROLES......IT WASN'T JUST RESPECT . .IT WAS SINCERE REALISATION OF HER LIMITATIONS.......WHICH ONLY THE INDIVIDUAL HIM OR HERSELF KNOWS ABOUT.! EG.....RENATA RECORDED BUTTERFLY TWICE BUT WAITED UNTIL 1959 TO SING IT ON STAGE......ALSO FANCIULLA ONLY WENT ON STAGE IN 1970 AT THE MET..... ....RENATA KNEW HER LIMITATIONS EVEN IF WE WHO WATCHED AND LISTENED THOUGHT SHE HAD NONE.... I AM SURE CALLAS MAY NOT HAVE SUNG THE REQUIEM FOR JUST THE SAME REASONS.