ฝัง
- เผยแพร่เมื่อ 25 มิ.ย. 2024
- 00:00 Adriana Lecouvreur, Act I_ Io son l'umile ancella
03:32 Andrea Chenier, Act III_ La mamma morta
09:29 Mefistofele, Act III_ L'altra notte in fondo al mare
15:12 Otello, Act IV_ Canzone del salice
Gaetano Merola Conductor, Renata Tebaldi Soprano
Renata Tebaldi was a legend in her own time as one of the most highly sought after sopranos in history. Although she had the qualities of a true dramatic spinto soprano in the sheer size and weight of her voice, she herself rightly felt she was a lirico-spinto singer in her stylistic approach. Her opulent tone was supported by a magnificent technique including remarkable breath-control with which she delivered outstanding legato phrasing, special subtlety of musical phrasing, and powerful vocal characterization.
From the time of her professional stage debut in 1944 singing Elena in Boito’s Mefistofele in Rovigo, Tebaldi was immediately recognized as an exceptional talent, and when two years later the fearsomely demanding Arturo Toscanini chose her to participate in his gala concert for the re-opening of La Scala opera, he made a play on words about her voice, exclaiming “Ah - la voce d’angelo” (Ah - the voice of an angel) as it floated down from a high balcony near the end of Verdi’s Te Deum. This is how Tebaldi was thereafter often referred to by her legion admirers, who included some of the most highly distinguished opera celebrities of her day. - เพลง
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.
Belleza sin fin... Maravilloso recital de RenataTebaldi.!!
DIVINA!!!
divina .
AMAZINNG THE MOST BEAUTIFUL VOICE IN THE WORLD.
Just... I have no words. Tebaldi... beautiful
Extraordinaire, merveilleuse Renata Tebaldi, voix unique, splendide, inégalable, la plus grande soprano lyrico-spinto du monde.
Stupenda
Divina .
There are some lovely voices today,but nobody comes near this woman.A huge voice that is also able to float the most exquisite pianissimos👏👏👏
Well it is not just the voice, that is impressive. L'accento and phrasing were outstanding.
La voce d'angelo, quella di RENATA TEBALDI, è immortale!❤
EN LAS CINCO ESCENAS QUE ABORDÓ RENATA TEBALDI EN ESTAS GRABACIONES, SERÁ DIFICILÍSIMO PODER IGUALARLA, ES INSUPERABLE !!!!!!!
Not only does Tebaldi sing with an astounding control, but this orchestra is blowing my mind
So beautiful!
Renata Tebaldi a gloria di Dio, creatura che ne mostra la grandezza
Niente di simile
TEBALDI: La voz que trasmite amor.
Wow! Tebaldi at her best! Brava ❤️😍
Gracias por compartir este bello performance, la voce d'angelo, maravillosa, maravillosa, maravillosa...
LA VOZ MÁS BELLA DEL SIGLO XX.
Marvelous, absolutely marvelous ... thank you M
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 TH-cam 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!
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.
Maravillosa como siempre . Una voz de Ängel.!!!
Celestiale Divinità!
BRAVA Renata!!! The la mamma morta was simply breathtaking. That high B, the phrasing, the passion! Singers today are no where near this level
👏👏👏❤
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.
NOTHING about Callas was supreme over Renata!
@@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...
Funny how Callas fans are so obsessed with supremacy...
Why does liking one have to exclude liking others jesus on a wheelchair
Very nice
Для меня она лучшая! Спасибо, Рената , за волшебное искусство!
С любовью из Москвы.🎇
Beautiful!
quelle émotion, j'avais un disque vinyle de Tebaldi lorsque j'étais encore enfant, il y a presque 50 ans , je l'ai tellement écouté qu'il craquait
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.
I agree. Could you please explain me what is this strange sound she makes in the low notes in the end of L'altra notte and La mamma morta?
@@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.
@@Orfeus80 I think that Leyla Gencer also did that a lot. I find it really strange
@@brumgab not my cup of tea either but they were in fashion for many decades. Much less so these days.
It’s called “chest.” And “Italianità.” And it’s wonderful.
Astonishing thank you! It has taken me many years to learn to love Tebaldi. All my own silly fault!
Incredible. The most beautiful voice in my opinion
pazzescamente bella!!!!!
Belleza pura
This is phenomenal. Many thanks for uplaoding.
RENATA TEBALDI: La voz que trasmite AMOR...
la migliore, l unica la magnifica...un angelo
#RenataTebaldi100 🌹🌹🌹 Happy Birthday! 💐💐💐
This recital is gold, all these are Tebaldi's signature arias-in my opinion-, performed exceptionally well here. I'm just blown away by the beauty.
Действительно, ангельский голос!!!
Brava, Diva!
Очень нравится спасибо
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.
That gear shift at 9:13 - woah!!!
Hahaha an interesting embellishment
And what do 28 year old sopranos sound like today? Listen to Callas in 1950 and ask the same question. (And if memory serves she was a year younger!)
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.
A voice like a torrent of glowing, molten gold. A force of nature. ❤
Magnifica, soberbia e incomparable
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.
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
Where is this recital in 1950 with this so good sound?!
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!
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.
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.
Ma si vuole parlare di questo acuto nell'aria del Mefistofele?
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.
@@robertoramossempere7252 Unica, unica, unica
La sua voce e il suo modo di cantare sarebbero stati molto più adatti per un coro in chiesa che a al Teatro d'Opera !!
Secondo me non sei un conoscitore di lirica x dire una tale eresia 🤨
Jesus, that must be quite a church.😊