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Tebaldi did not sing roles that were too spinto, on the contrary Tebaldi was a singer who sang less things for the vocal possibilities that she had. Other sopranos with much lyrical and lighter voices, like Gencer, Stella, Aprile Millo, Caballé etc, all voices more lyrical and lighter than Tebaldi's voice and they have sung a lot of dramatic operas that Tebaldi did not sing, I repeat Tebaldi having a bigger voice than all of them. Stopping singing Aida in 1959 does not mean singing badly, the sopranos who sing Aida throughout their career are the lyrical ones, the most dramatic voices leave Aida after a few years of career, Ponselle being the clearest example, Ponselle did not sing more than 13 or 15 performances of Aida in total throughout her career. Tebaldi's high notes were perfect, in color, in roundness, in firmness, in vibration and they are models of beauty. Tebaldi always sang well because she is a great singer, always choosing the best for her voice at every moment of her career, both in the 50s and in the 60s.

@piruja1965-mf6sw certainly you're a Tebaldi fan without any objectivity ,she had many problems she never resolved ,even if she tried twice ,to get better with new teachers. Gencer & Stella were way better singers with smaller voices yes ,but with better top. Tebaldi with the mania to sing loud ,she became too soon ....voix courte....& in bad nights struggling with pitch...that ...Io quella lama ....has suffered a lot.... Never forget the very powerful DECCA.. In the same rôles Farrell,Araujo ,Borkh,Barbato,Guerrini,Rovere ,Kirsten(in verismo ),Verna,Shuard,Gulin,Ross,Kelm,Tinsley,Kuchta,Kuba,Gruz Romo,Renzi,.....etc sang much better ,with better top ,but they didn't have a company like DECCA to help them with publicity,which is very important .The high quality of Frances Yeend singing in Turandot had an influence on L.Price's decision to become a singer ,& who remembers her today? And finally I have many ...?????....about Carmen Melis teaching....

@@alexanderzaphir721 I am a fan of Tebaldi because I understand what it means to sing well. In your case, it is obvious that you do not understand about singing, after having written that Leyla Gencer and Antonietta Stella are better singers than Tebaldi, saying that is one of the many barbarities that today the internet gives impunity for anyone to write similar things. Do you know what it is to have a dynamic range in the voice? Antonietta Stella is a singer with zero dynamics. Do you know what it is to have a perfect vibrato? Antonietta Stella's high notes are full of irregular vibrations. Do you know what it is to have homogeneity in the range? Antonietta Stella has a voice made of pieces. Do you know what it is to have "smalto" in the voice? Antonietta Stella has a dull voice "without smalto". Do you know what it is to have perfect legato? Antonietta Stella has a very mediocre legato. Do you know what it is to have good phrasing? Antonietta Stella has scholastic phrasing. In all this Tebaldi is perfect. Tebaldi is the singer with the greatest dynamic range, able to go from the most ethereal pianissimo to the most powerful fortissomo and without the timbre becoming impoverished and without the voice losing quality. Tebaldi's high notes are perfect in vibration, the vibrato is unwavering, the color and firmness and power. Tebaldi's legato is perfect, phrasing is refined, Tebaldi's voice is all the same from the bottom to the top.Tebaldi is a very well-tuned singer, very well-tuned, and she never forced her voice or had a mania for singing loud, just that her timbre is powerful. Antonietta Stella has plenty of recordings where she is not flat but out of tune, the same as Dimitrova, Gencer and others Leyla Gencer is a vocal disaster, even worse than Antonietta Stella. Leyla Gencer's voice is sick, her singing is a struggle, Gencer's pisnissimo is in "falsetto" and when she tries to sing a high note in forte Gencer's high notes fray, disarm. Enjoy Antonietta Stella clamorously out of tune high notes , this 1960 D'amor sull ali, she was 31 years old, Stella is is out of tune that in the Bflat and C her throat does open more than an A (besides she is unable to modulate her voice), terribly out of tune th-cam.com/video/30Wk0Z_ubmY/w-d-xo.html

@@alexanderzaphir721 enjoy Ghena Dimitrova tuning and festival of out of tune Cs, cracks etc th-cam.com/video/7xg-Z3OBh54/w-d-xo.html

@piruja1965-mf6sw your personal opinion... IPSE DIXIT DOMINE

Caballe probably sang the most perfect version of this aria

You truly understand

Yes, but Kaufman is not anywhere close to being a spinto tenor, his voice is far too small. He is a Mozart tenor, that is where he has done the best. Darkness alone does not equal a spinto or dramatic tenor.

@@ZENOBlAmusic I agree with you. He is not an spinto tenor. However, he is singing Otello!!...