Renata Tebaldi's portrayal of Aida in the 1959 performance was nothing short of sublime. Her ability to convey the depths of emotion through her rich and velvety voice truly brought the character to life. Tebaldi's mastery of dynamics and phrasing allowed her to effortlessly navigate the intricacies of Verdi's score, capturing the audience's hearts with her poignant interpretation. In "O patria mia," Tebaldi showcased her exceptional vocal control and impeccable technique, commanding the stage with her presence. The raw passion she poured into every note was palpable, creating a connection between the character and the audience that was truly captivating. Her duets and interactions with other characters displayed a profound understanding of the dramatic nuances of the opera, elevating the performance to a truly unforgettable experience. Tebaldi's ability to convey both vulnerability and strength in her portrayal of Aida added a layer of authenticity to the character. Her chemistry with the other performers enhanced the overall production, creating a cohesive and powerful ensemble. While there might have been a moment that showcased the humanity of live performances, it in no way overshadowed the brilliance and artistry Tebaldi brought to the stage. In this 1959 rendition of Aida, Renata Tebaldi's vocal prowess and emotional depth truly shone, leaving an indelible mark on the world of opera. Her performance, despite its inherent challenges, remains a testament to her skill and dedication as an artist.
Com’è facile attaccarsi ad una nota per criticare una cantante che ha fatto la storia della lirica in Italia e nel mondo. Ai cantanti spesso non si perdona mai uno sbaglio, una stanchezza, un cedimento. Credo che sia più giusto e opportuno guardare sempre a tutto il percorso di un cantante e quello della Tebaldi è stato semplicemente stupendo. In una voce ci sono tante cose, non solo gli acuti e lei lo ha dimostrato abbondantemente in tutto il tempo della sua carriera. Credo che davanti ad un’artista come Renata Tebaldi si possa dire solo una parola: G R A Z I E ❤️🎵❤️
Gran verdad, los oidos de discos de hoy en día o lo que es peor de mp3 solo aspiran a la estridencia y espectacularidad de un agudo metalico.... Cantar con sensibilidad y rindiendose solamente frente al autor de la partitura solamente los encontramos en plenos artistas de la talla como la GRAN RENATA TEBALDI. GRACIAS ES POCO, VIVA VERDI ❤
The beauty of the timbre and the interpretive sensitivity are incomparable. Besides, Tebaldi was as beautiful as her voice. The elegance with which she moved on stage made her ideal for the role of Aïda. I don't know another soprano with such a stage presence.
¡ Totalmente de acuerdo ! Miss Tebaldi fue, es y será una diosa. La belleza de su inigualable timbre, su presencia escénica junto con su belleza física, en fin, todo el "combo" que ella es, hace que sea patrimonio universal. Gran artista que, aún y después de su partida de este mundo terrenal, sigue iluminando almas.
@glaucoma888 if handling it "up there" is the pinnacle of your opera experience, then I'm truly sorry for you, I think you're missing something in this most beautiful art form.
I heard tebaldi as late as 1966 as desdemona with Vickers at Philadelphia Academy of music. Their voices had astonishing presence. I have NEVER heard a recording which reflected this power. I read that attendance is down in era houses. I urge people to expose themselves to the full scope of a powerful trained voice in a live setting. The experience was life changing.
The problem is there just aren't the singers like Tebaldi and Vickers out there today. With a few notable exceptions, MOST principal-role singers today would only be hired for comprimario roles in the 50's and 60's.
I agree. In person she was spellbinding. She had great charisma. Her smile in Tosca Act 1 was dazzling. I remember the first time I heard her voice, in the Cetra Andrea Chenier. I thought this is most beautiful sound I have ever heard. Now having just revisited her 1961 Berlin Otello, I marvel at her ease of emission, phrasing and gorgeous legato. Her Ave Maria just flows - she was unique - there will never be another Tebaldi!
The singing is different now. More suitable for the microphone and the recording studio. Maybe that's in part why theaters are empty? The art form is now intermediated by the recording studio and sound engineering. The singers just don't sound that good live...
Awesome! Ive heard this time and time again, particularly regarding tebaldi and hildegard Behrens. I wish i was able to see someone that awesome in person. I did see rene fleming a few times. Not a large voice, but shes a fantastic singer. 🤘
@@kimmillard9445 Absolutely. I think singers don't train enough nowadays, they sing too much too soon, they sing repertoire they shouldn't, and opera houses are more worried about how their singers look than whether they even have a voice.
she is beautiful here! I was lucky enough to meet her in person many years ago- she was VERY tall and elegant, as she looks here- and I appreciate her singing here, despite the "accident" on the high note_ today we listen to far worse notes, and we clap hands
great artist, when we are young we have no idea what its like to be older. things start to fall apart. Renata did a fine job with her high notes...if they weren t perfect so what?...you have to be old to understand. be we respect her for her abilities.
She was great when she sang on the lyric side of her lirico spinto. When she sang roles like La Gioconda and Adrianna Lecouvreur and beefef-up the voice, it didn't work, And she wasn't old. Her performance of "La Wally" at Carnegie hall was tops . Even Bergonzi had a ring in his voice!
@@tommacdonald7990she was great as Gioconda. This high C in Aida is just very hard fof big voices. Sometimes it just doesn't goes even if thete is no problem with C. I understood it by my owm experience. Very strange feeling when you understand that you just can't do it😅. Usually composers wrote it much more comfortable.
The high C the high C the high C blah blah blah. Tebaldi rarely had that note. What she had was style, intelligent phrasing, resonance, power, a truly gorgeous mid-to-upper range, and that special vocal and stage presence that defines a legend.
@@chiedu90069 There are many TH-cam clips from the 50’s of the ‘Inflammatus’ and her most famous C, at ‘Io quella lama’ in ‘Tosca’ Act III. They are massive tones and completely in tune.
@@ginopietracupa4305 Thank you! When she nailed it, she nailed it. But again, I don't care. Renata Tebaldi was much more than a couple high notes. If high notes were everything, we'd be listening to Mado Robin - who I love, but not nearly as much as Tebaldi.
Her sound was extremely gorgeous. In deed, it's a pity the lack of the high note but the beauty of her voice is such that I don't really care about it.
She's perfect. Just perfect. Even the way she sensed "that note" was about to go flat or crack and the way she went off it gracefully and continued are a testament to Art. Sometimes it's more interesting to observe singers in moments like these that when they are 30 years old and timidless.
That's a very good night in the opera house... these days! My goodness, such snotty comments. I sang (chorus) with Sills, Sutherland, and Millo. Tebaldi did very well here. I've heard recordings where she's better. And I heard nights on stage, when other 'greats' were off. But the artistry endures... and that's what counts.
Sta di fatto che dopo quelle recite a Parigi la Tebaldi cantò ancora Aida per due sere a Vienna con Karajan nello stesso mese, poi l'abbandonò definitivamente. Evidentemente il ruolo le creava ormai problemi, e non solo per il do di "cieli azzurri": anche i due pianissimi finali denunciano difficoltà. Arrivare ad un punto in carriera in cui si deve rinunciare ad un ruolo rientra spesso nell'ordine delle cose: le era già avvenuto due anni prima con Traviata. Ciò non toglie nulla alla grandezza di Renata Tebaldi.
Спасибо всем, кто защищает певицу, хотя хочется сказать, что уж РЕНАТА ТЕБАЛЬДИ менее всего нуждается в этом. Это великая певица!!и она - живой человек, как мы знаем и Карузо ставил петухи, но он не перестает из-за этого быть тенором номер 1)) .
Every singer has some days great...other days not so great - the human body is temperamental. Tebaldi had the most beautiful voice in opera....and she had a musicality that was impeccable....Too bad about the High C - the rest was beautiful.
She did not ,freak out,. Every live performer will come against a day when things do not all go as they should.Tebaldi is the kind of singer who will very rarely cheat a phrase as written by the composer. A quick breath before the c would have nailed the note but spoiled the line of tbe phrase.she knew already half a phrase earlier that the voice may not go there tonight,but she went for it anyway .if its any concilation,the next performance in paris the C was huge.
My favorite soprano since I first heard her. Love her in the role & especially her Ritorna vinci tor aria. For me, Patria mia fits the voice of Price like a glove where the high pianissimos seem to enter a cavern . Never heard
Estamos escribiendo al pie de una versión de o patria mía donde tiene una falla en el famoso do. Existe al menos una versión del aria de Suor Angélica donde el agudo final está notoriamente calado, inclusive el pianisimo final de esta o patria mía tiene dudosa afinación, Pero no entiendo que estamos discutiendo porque para mi Renata Tebaldi tenía la mejor voz del mundo aunque eso no quita que se aprecien algunas dificultades
It's regrettable that Md. Tebaldi only rarely had a totally secure high C, but when an entire aria is sung as magnificently as Oh Patria Mia is here, and when it is capped off with an imperious final high B, It is churlish of me to mention it.
Tebaldi rarely had a totally secure high C ? How can you say such a barbarity after being all her official opera recordings and so many "live" where all the Cs are there and are not only excellent but very very beautiful
Si trattò, in fondo, solo di un acuto toccato e subito abbandonato, senza scrocchi né stecche, ben perdonabile a chi aveva da sempre disegnato col suo canto cieli azzurrissimi e mai inquinati!
I’ll just add that when Beverly Sills was asked to describe an Italianate spinto voice, she said, “It’s hard to define, but the greatest for me were Ponselle, Tebaldi, and Price.” No argument from me!
Price's sound was unique to her. I wouldn't call it "Italiante." As she once said herself, it was a sound that could only come out of a black woman's mouth. At it's best, it was shimmering molten gold wrapped in velvet. I agree with the Tebaldi/Muzio/Ponselle trio as examples of true Italianate sound.
@@ER1CwC I don't think Price was ever a spinto, but as she described herself, "A lyric; a juicy lyric, but a lyric." I think that's why Fanciulla almost destroyed her voice, since it was a true spinto role rathan than a lyric role.
@@Shahrdad I completely agree that she was a big lyric soprano with more in common with Steber, but I think juiciness is a different thing. An even lighter singer who had a similar quality in my books was Freni. Compare Freni to say Elisabeth Grummer or Lisa Della Casa. All three were were lighter lyrics. But Freni's voice was juicy, whereas Grummer and Della Casa's were shimmery and silvery. Thus one was Italian, whereas the other two were Viennese.
People wanna criticize nowadays divas but Tebaldi had trouble with this aria on many different occasions and nobody says a word about it. Why don’t people just recognize that this is a hell of an aria and in many cases is a lottery for most of the sopranos singing it, whether they are divas from the 50’s or recent divas. Each of them have their own qualities and issues. Tebaldi has the perfect Italian singing, fantastic legato, Price the perfect floated pianissimi, Netrebko the beautiful color of the voice, Siri the fantastic squillo in her voice and her ultimate fiato. Let’s respect all the sopranos who are brave enough to step on a world-class stage and sing this role.
Not really...Dame Eva Turner spoke about the difficulty of this aria and it was always well know.Tebaldi struggled with the high C and she stopped singing AIDA after 1959. I personally wouldn't mention Netrebko is in the same phrase as Tebaldi and Price.
She describes in her biography how this was for many reasons not a good period for her. I think she must have been thinking about how to deal with the C from the start, since she is flat in a number of places earlier.
I read the comments criticizing Tebaldi that her voice was too this or that or lacked blah blah blah and blah. You guys dont get it.you think if you scream to the public that Black is really White, for long enough they will eventually believe you.I can assure you tbat Renata went on to sing for another17 years after that particular performance and one of her last roles was mrs quickly in falstaff at the met in 72 where her final note was a high C sustained for 9 beats of the bar.,...bang on pitch...i have a tape.
Luigi Corvi Thanks so much for setting these " experts" straight. Back seat criticism of any one aspect of a live performance as the defining moment of the career of a performing artist of this stature is so unfair.
As much as I love Tebaldi but the fact that her high notes after 58 were hit and miss (mostly miss) is obvious. It's also known that by early 60s she was in her worst vocal condition due to many things like bad habits (pushing the voice to sound more dramatic, and singing high notes with too much heft etc.), and her mother's death.
Mr. Corvi: In 1972 Tebaldi sang Alice Ford in Falstaff. The note to which you refer is a high B flat -there is no high C written for Alice Ford. Also, Dame Quickly is sung by a mezzo. I have this Met broadcast on CD and I believe that Regina Resnik is the Dame Quickly. Alice Ford was a good role for Tebaldi by then because she could enjoy a large role without exposing her limitations in her uppermost notes. She was a wise woman and she knew she was approaching the end of her opera career with this broadcast. She returned to the Met the following January in 1973 for three performances of Desdemona in "Otello" and then left the Met for good. She did continue to give recitals and concerts for a few more years. By the end of 1975, her voice was forever silenced. She then embarked on several Master Class tours throughout Europe.
YT is full of idiots - not unlike the USA in general. Tebaldi is one of the greatest singers of the 20th century. No one today even comes close. AIDA was a superb role for her - I just wish she hadn't sung it as often as she did. 1959 is the year of the horrible Warren disaster at the Met. Even so, she's absolutely unsurpassed as the Forza Leonora and several Puccini heroines.
This was her final Aida of her career. She started having two distressing problems: the top C at the end of the aria tended to become so flat that she had to drastically shorten it, thus blemishing the climax. The final top A, unfortunately cannot be abbreviated and it flattens like a pancake. She's a good semi tone flat and it makes the orchestra sound out of tune. Too bad because because the voice itself was gorgeous. Tebaldi was unfortunately a "soprano corti" (a short soprano) meaning that her effective range at this period went about as far as a B natural. The top C, especially in this aria, became such a trial for her that she dropped the role of Aida from her repertoire. But she continued to sing many other operas beautifully. That top soft C is a bugaboo for many sopranos anyway. Very few sopranos have gotten it and nailed it.
El do del final del aria ha sido el dolor de cabeza de muchas sopranos desde que Aida se estrenó, especialmente para Renata Tebaldi cuya voz no tenía pasaje, sin embargo es verdaderamente sorprendente como la posibilidad de fallar en algunos agudos no alteraba en absoluto la inmensa calidad de todas sus interpretaciones.
Larry Mitchell Right .she s always flat.she could be in a very bad evening.I have always had some question marks about all this so famous work of Carmen Melis on her voice ,I dont see a technique without problems ,in the first years they were not so obvious.she had exaggerated also on her natural opulence ,& this doesn't help to conquer the high notes.with another technique,propably she'd have avoided to lose the top. But Italy in 40s &50s was able to present many good Aidas ,not missing their C. Pedrini,Guerrini,Caniglia,Cerquetti,Stella,Tucci,De Cavalieri,Barbato
Eleusis' Midnight Sun Tebaldi flat high notes ? In her opera recordings (discs) there are not recorded flat notes, on "live" if there is any high note is slightly flat, neither more neither less than any other soprano. All the sopranos you mention : Caniglia, Cerquetti, Guerrini, Stella, Barbato ecc have high notes of lower quality, beyond they are totally inferior singers to Tebaldi.You show you do not understand anything about voices Eleusis, in all the existing co-documentation of Tebaldi, there is only one document where she does not well the C in O patria mia, and it is this, from Paris 1959, she does not crack , and the C is not out of tune either, she simply cuts the note inmediately because she notices her throat is closing, but this is the only one existing document of Tebaldi O patria C that is not well sung, and we have to read what you wrote , that she is always flat, that misses the C always , don't you think that's crazy ? it's fiction. I do have three (3) Ghena Dimitrova "live" Aidas, Spain 1982, Paris 1984 and La Scala 1985 and she misses the C in the theree performances th-cam.com/video/-zvBGrHG4BU/w-d-xo.html
Trovo veramente iniquo e fuori di ogni contesto filologico il commento del Sig. Tomba, il quale si permette anche di osservare che la tebaldi prende fiato dove le pare, evidenziando solo la propria ignoranza musicale sia della pagina scritta che della tradizione cantata dai più grandi soprani del secolo. Quello che trovo indecoroso non ha nulla a che vedere con la Tebaldi la cui grandezza è qui presente tutta, pur in un momento di stanchezza. Trovo indecoroso che la si massacri per un momento difficile, sottacendo tutto il bello che è davanti a noi, e si perdoni a priori alla Callas tutto: una Callas che anche nei momenti migliori di suoni infelici e oscillazioni e bruschi scarti di suono ha sempre dato ampia elargizione al suo pubblico. Qui Aida c'è tutta: la Tebaldi canta bene, è stanca, è affaticata, ed è in difficoltà nella salita al Do sovracuto ma l'aria è eccellente nei portamenti, negli smorzamenti, nel canto a fior di labbra. Concordo che non è il suo "cieli azzurri migliore della carriera" ma si faccia avanti chi non ha mai avuto un momento di stanchezza che gli ha impedito di dare il massimo. Le acciaccature di "azzurri" "dove sereno" e "fresche valli" "che un dì promesso" sono perfette, e non tutti i soprani, dal vivo, le cantano bene, facendole sentire, e questo la tebaldi lo può fare perché ha la voce a fior di labbra e non in gola, dove si affossa. I portamenti al do centrale "o dolci aure native" "quieto asil beato", cantato sfumato come specifica Verdi, sono inattaccabili e frutto di grande arte e padronanza tecnica. Il gioco di colori c'è tutto, i forti e i piano idem, in un rispetto filologico e agogico del testo scritto da manuale. I fiati contestati da Tomba 2 quando dice che la signora prende fiato dove le pare, sono invece perfettamente corretti e in linea con i portamenti di tradizione: in quest'aria, infatti, lo spartito consente molta libertà nelle prese di fiato, assecondando l'indole delle varie interpreti. Voglio ricordare a Tomba 2 che i fiati che la Callas (tanto per citare una delle più grandi artiste, sono diversi se ascoltati nelle recite live e nella incisione Emi: così anche quelli della Caballè e della Price: in quanto il tempo dettato dal direttore e concordato con la cantante, varia a seconda delle prerogative di quest'ultima. La tebaldi sceglie in cieli azzurri un tempo lento, e ovviamente le serve più fiato per dipingere l'atmosfera. Ma i fiati, all'interno delle grandi frasi scritte da Verdi, sono perfettamente integrati e conformi alla tradizione interpretativa dell'aria. Fatta eccezione per la salita al do sovracuto, dove la penultima nota e il do sono infausti, il resto è cantato con osservanza e arte. Fermo restando che in questa serata a Parigi la Tebaldi era visibilmente stanca. E, non per critica ma per onor del vero, voglio ricordare qui che la salita al do sovracuto di una Callas, per quanto la somma artista fosse ferratissima tecnicamente, non sfociava in un suono dolcissimo e bello bensì sforzato e oscillante, così come oscillante, opaco e vetroso è sempre stato per la Callas il la naturale della chiusa. Quindi auspico che nelle critiche si esprima sempre coscientemente un giudizio oggettivo e generale sulla resa. Qui la resa della Tebaldi non merita il giudizio che i suoi detrattori hanno formulato.
Quotissimo tutto, alla calals si perdona tutto!!!! Succede per Renata con la callas quello che per Mariella (Devia) succede con la gruberova....purtroppo.
Guarda che se vuoi parlare con me basta cliccare "rispondi". È ridicolo che mi chiami "detrattore"... Non mi interessa detrarre niente della Tebaldi. Neanche negli anni e momenti migliori il suo registro acuto era facile. Parli della Callas....(che io manco ho nominato). Difetti o no basta ascoltare la sua Aida del 50. Sale al Do tranquillamente e smorzandolo. Se pensi che parlare dei difetti della tua diva sia essere un detrattore... Beh non so che dirti... Fatti tuoi. Per Mandolino: cantantuncole mummiesche non meritano di essere nominate insieme alla Callas e Tebaldi
@@Tkimba2 , come tu dici ho cliccato su "rispondi"...e rispondo solo a te...m'era sfuggita la "Divina Commedia", data la lunghezza dello scritto del Signor di poc'anzi sopra...non mi pare che l'atmosfera esca fuori piu' di tanto, come dice il Signore di poc'anzi sopra...qua' nessuno detrae ma semmai cala, che e' assai differente. Sui "famosi" La bemolle conclusivi bisognerebbe aprire alcune gravose parentesi che ora non e' il caso di aprire pur se chiuse da tempo. Sul "tempo lento" preso..beh...prendeva tempo, come Norma al primo atto, per arrivare, si fa per dire, al Do conclusivo il piu' tardi possibile. L'assenza della tecnica portava a questi giochetti. Sempre. L'altro Signore poco sotto dice che alla Mariella accade cio' che accadeva alla Renata con la Maria rispetto alla Gruberova...a parte alcune cosacce degli ultimi anni la Gruberova aveva un colore di voce ed una tenuta "sfolgorante" che la "Mariella" mai ha posseduto, neppure se avesse evocato la Malibran in una seduta spiritica...magari apparivano, piuttosto, gli Addams. Tomba 2, ciao. Rispondi, mi raccomando.
Non posso credere che ancora oggi esistano queste acredini. Io quando ascolto queste voci vado in estasi e ringrazio la Natura che ci abbia dato questi talenti.
The problem here is that she needed to drop her jaw some of the time but also that on the top she loses the vibrato action. It almost straight tones. And has the habit on the very top to spread of it horizontally when it needed to be vertically through the chin lowering down and narrow and showing the upper teeth but never spreading horizontally. But if the vibrato stops we get into trouble. I have to increase on the top.
E aquí a la más grande de las Aidas muchas sopranos tuvieron la influencia de la Bella RENATA TEBALDI para abordar este papel modelo a seguir hasta la actualidad nadie puede hacerlo mejor que la Diva de Divas solo ella es grande única aunque muchos ignorantes creen que con los gritos desbordantes que no son parte de la partitura la TEBALDI queda corta no ella entra se envuelve en el personaje dando vida a este personaje de Verdi quién como ella para Leonora su Desdemona Tosca y todos los personajes de Verdi y Puccini ella la grande con su técnica y línea de canto perfecta incomprendida he incomparable para muchos que no entienden el arte de esta gran soprano italiana y que muchos han tratado de poner como igual a la malograda María Callas efímera eso jamás la ópera solo a tenido una Diva eterna y gloriosa la gran RENATA TEBALDI
Quant'è stupido attaccarsi a un do sovracuto...La perfezione non è di questo mondo, di ognuna delle grandi Aide o in generale dei grandi cantanti di ieri e di oggi possiamo trovare difetti, quello della Tebaldi era senz'altro un registro sovracuto non facilissimo, ma a compensare questo c'era tutto il resto: un timbro di bellezza celestiale, una vocalità omogenea, solida, capace di una morbidezza e insieme di uno squillo incredibili, sontuosità e nobiltà di fraseggio, dizione scultorea... In più, "piccolissimo" dettaglio, dimenticate che il signor Verdi voleva il diapason a 432 Hz, perciò il "do" non sarebbe sicuramente stato quello che la Tebaldi era obbligata a cantare, non vi pare?
@@gianlucabrunetti3214 Netrebko AVEVA bella voce, adesso si occupa di mostrare il corpo e fantasia culinaria. Lei è indietro con suo cammino 😃 professionale😃😃😃
It must have taken great courage to perform roles with notes that usually did not work in live performance. Did any interviewer ask for her thoughts about this? "Miss Tebaldi, the Nile Scene high-C almost never worked for you in performance. How did you manage to do 40 performances of the role?" 6:13 is the difficult moment here.
Para “Aïda” hubo sólo 4 verdaderas exponentes: Renata “La Voz De Ángel” Tebaldi, Leyla “La Sultana” Gencer, Galina Vishnevskaya y Gilda Cruz-Romo (que se la consideró la mejor Aïda del siglo en La Scala Milanesa), la cima de Aïda no es el Do6, es aguantar los dúos con Amneris, Radamés y Amonastro, cosa que Tebaldi pudo mejor que nadie, la voz no se fatigaba, los aplastaba a todos con esa proyección de Spinto que hacía que el volumen fuera bestial.
I’m so happy I’m perfectly able to enjoy other singers than my all time favourites- most great singers have something valuable to offer which the others don’t have and which makes them unique. This enriches my musical experience and educates me again and again. I even listen to voices I don’t appreciate and then try to find out what it is I don’t like. Keeps me fresh and interested.
I would like to hear such a voice today. Full, creamy, legato, diction, phrasing, colour etc etc. Many of the comments about the C come from men. I wonder how many are singers. I also wonder if any of them realise that at a certain time of the month the female vocal folds become slightly swollen; the resulting increase in mass causes the acute notes to fall slightly flat and nothing to be done about it. The singer should make no attempt to fix it as when the folds return to normal size after that natural process is finished the mechanism could have been stressed by fiddling with tones produced while the instrument was out of balance. As a teacher myself of my pupils was a principal soprano in St. Petersburg Opera. She told me soviet then Russian sopranos planned appearances with diary in hand although they would resort to the pill to regulate the monthly cycle, but they were excused from performing without it affecting their salary. So guys, have a heart, singers in the West were not allowed such luxury or understanding of the physiology underlying the instrument. Let’s all be grateful for what Tebaldi gave us, rather than what she didn’t.
@@golden-63 As she aged, yes. No one with a functional mind tries to argue that some difficulty with high notes (which ALL so-called singers have NOW and have for decades, due to the death of training and singing) means that Tebaldi was not a great artist and singer.
I'm not really a fan of her voice w / or w / o the c ... but the artistic self-confidence & presence-of-mind to continue after a vocal issue in front of a live audience is amazing ! Her last note was ravishingly beautiful !
A lot of the more opulent-voiced sopranos have had to eventually drop Aida from their repertoire. Rosa Ponselle and Regina Resnik come to mind. Of course, Resnik changed over entirely to Mezzo and Contralto roles altogether while it is now believed that Ponselle was a true contralto with fantastic register integration and a superb upper extension. She HATED the high C in "O Patria Mia." She WANTED to switch to roles like Adriana Lecouvreur and other parts with lower tessituras. Edward Johnson balked at this and Ponselle ended up quitting altogether. Of course, with Tebaldi, the Met relented and let her revive Adriana with historical results.
seeing that your comment is by far the most recent, maybe you could have a little short conversation with me regarding Tebaldi haha. I feel like there are few sopranos who struggle singing high C’s so why someone like Tebaldi just transition to higher mezzo roles like the ones Verdi wrote? why did she have to stay a soprano??
@@lamb4mc , I think because for Tebaldi, her best voice where it was at it's most beautiful with the greatest color was still in the lyric-spinto Soprano repertoire. So, she just had to drop stuff with the exposed high C's such as Aida. She did record stuff like O Don Fatale and Mon coeur s'ouvre a ta voix, but it really didn't quite work for her. Just not her fach or where her voice was the most beautiful. On the other hand, Resnik absolutely NAILS those arias. And as far Ponselle, her later recording of Mon coeur s'ouvre a ta voix is an absolute treausure... Probably the best the aria has EVER been sung. Also, Resnik took quite a risk in her career with her decision to move to mezzo roles. In retrospect, it worked out great for her and for us, but it could have spelled the end of her career if impresarios refused to cast her in Mezzo and Contralto roles like they did with Ponselle.
Quello che trovo indecoroso non ha nulla a che vedere con la Tebaldi la cui grandezza è qui presente tutta, pur in un momento di stanchezza. Trovo indecoroso che la si massacri per un momento difficile, sottacendo tutto il bello che è davanti a noi, e si perdoni a priori alla Callas tutto: una Callas che anche nei momenti migliori di suoni infelici e oscillazioni e bruschi scarti di suono ha sempre dato ampia elargizione al suo pubblico. Qui Aida c'è tutta: la Tebaldi canta bene, è stanca, è affaticata, ed è in difficoltà nella salita al Do sovracuto ma l'aria è eccellente nei portamenti, negli smorzamenti, nel canto a fior di labbra. Concordo che non è il suo "cieli azzurri migliore della carriera" ma si faccia avanti chi non ha mai avuto un momento di stanchezza che gli ha impedito di dare il massimo. Le acciaccature di "azzurri" "dove sereno" e "fresche valli" "dove sereno" sono perfette, e non tutti i soprani, dal vivo, le cantano bene, facendole sentire, e questo la tebaldi lo può fare perché ha la voce a fior di labbro e non in gola, dove si affossa. I portamenti al do centrale "o dolci aure native" "quieto asil beato", cantato sfumato come specifica Verdi, sono inattaccabili e frutto di grande arte e padronanza tecnica. Il gioco di colori c'è tutto, i forti e i piano idem, in un rispetto filologico e agogico del testo scritto da manuale. I fiati contestati da Tomba 2 quando dice che la signora prende fiato dove le pare, sono invece perfettamente corretti e in linea con i portamenti di tradizione: in quest'aria, infatti, lo spartito consente molta libertà nelle prese di fiato, assecondando l'indole delle varie interpreti. Voglio ricordare a Tomba 2 che i fiati che la Callas (tanto per citare una delle più grandi artiste, sono diversi se ascoltati nelle recite live e nella incisione Emi: così anche quelli della Caballè e della Price: in quanto il tempo dettato dal direttore e concordato con la cantante, varia a seconda delle prerogative di quest'ultima. La tebaldi sceglie in cieli azzurri un tempo lento, e ovviamente le serve più fiato per dipingere l'atmosfera. Ma i fiati, all'interno delle grandi frasi scritte da Verdi, sono perfettamente integrati e conformi alla tradizione interpretativa dell'aria. Fatta eccezione per la salita al do sovracuto, dove la penultima nota e il do sono infausti, il resto è cantato con osservanza e arte. Fermo restando che in questa serata a Parigi la Tebaldi era visibilmente stanca. E, non per critica ma per onor del vero, voglio ricordare qui che la salita al do sovracuto di una Callas, per quanto la somma artista fosse ferratissima tecnicamente, non sfociava in un suono dolcissimo e bello bensì sforzato e oscillante, così come oscillante, opaco e vetroso è sempre stato per la Callas il la naturale della chiusa. Quindi auspico che nelle critiche si esprima sempre coscientemente un giudizio oggettivo e generale sulla resa. Qui la resa della Tebaldi non merita il giudizio che i suoi detrattori hanno formulato.
buongiorno, evidentemente era stanca, concordo e concorda anche lei. Però l'aver chiamato in causa altre grandi cantanti serviva al completamento del ragionamento: il Cieli azzurri non si risolve esclusivamente con il do acuto: dove altre cantanti, a paragone della Tebaldi, hanno un do acuto migliore, soprattutto nella capacità di controllo. Serviva invece a sottolineare che la costruzione dell'intera aria fatta dalla Tebaldi è certamente migliore rispetto alla Caballè, alla Callas, alla Price, alla Nilsonn, alla Gencer e così via; e ciò avviene per la morbidezza e il nitore del timbro, per le sfumature e gli alleggerimenti delle frasi, per l'eleganza dei portamenti, e per la solidità della colonna d'aria. Credo di essere in buona fede quando dico che il paragone delle altre grandi alla Tebaldi non regge, ed è a loro sfavore. Ma se per la valutazione complessiva, Lei ed altri melomani, volete considerare esclusivamente le tre note della salita al do acuto, allora -ovviamente- il giudizio diventa parziale. Un saluto cordiale.
@@sandro7799 Lungi da me la limitazione alle note alte,penso che occorra, per criticare ,un'estetica musicale,che certo attenua il fanatismo. La Tebaldi l'ho ammirata alla Scala due volte,incantevole con i limiti umani di tutti.Il suo apice non è qui,ma provi a riascoltare la Selva opaca e le Nozze del 54l,un gioiello purissimo,notai.Un saluto cordiale.
Son contadas con los dedos las sopranos que salen airosas de ese do dificilisimo. Por cierto, dos de esos dedos están ocupados por las venezolanas Inés Salazar y Ana lucrecia García las cuales lo abordan como si estuvieran tomando un vaso de agua
I want to give credit where credit is due, but I'm sorry...I can't imagine Maestro Verdi writing a climactic arch to the aria with the line ascending to High C with descension, and not having it realized. Why would Tebaldi get a pass? Today, if a Soprano cannot sing the notes, they don't get the role.
At 6:08 you can see she starts preparing for the high C and is expecting to mess it up - she had no confidence in her own instrument in its top register, with good reason - she very often had major mishaps above an A. I always wondered if she sought a teacher to straighten this out, and she simply never was able to learn it, or whether she didn’t even try to correct it.
Madam, How can you say she "very often" had major mishaps above A ? this is the only one document of a Tebaldi "O patria mia" where the C is not well sung. I do have three (3) Dimitrova "live" idas and she misses the C in the three consecutive performances, Spain 1982, Paris 1984 and La Scala 1985 th-cam.com/video/-zvBGrHG4BU/w-d-xo.html
Gino Pietracupa a lot of her live recordings have problems above the stave. Dimitrova is another case entirely, there are many roles that she should not have been singing and were a disservice to the public.
@Walter Monteagudo Two part series from the uncomfortable to the disastrous from across her whole career th-cam.com/video/6DMULZCjazw/w-d-xo.html th-cam.com/video/cKAgUpAR91Q/w-d-xo.html
Un peccato tanto pubblico parli di note acute, senza alcun riferimento alla dizione, al senso del testo, al "canto sulla parola", all'omogeneità dei suoni, al colore giusto per il ruolo. Un manuale di canto, questa romanza interpretata dalla Tebaldi, e non ce ne si accorge.
Grazie per l'interesse da Lei mostrato per i miei commenti, Sig Garzi. Pregandola di non farmi tornare per conversazioni puerili, Le porgo la buonasera.
Yo creo que el problema no era de técnica sino de que Renata Tebaldi no tenía en su voz notas de pasaje, esto favorecía su emisión pura y hermosisima pero perjudicaba su capacidad de cantar algunos sobreagudos con calidad, por esta razón algunos la catalogaron como soprano corta. Sin embargo esto pareció y parece tener poca o ninguna importancia para sus millones de admiradores.
Si, estoy consciente de que sobreagudo es un término destinados a notas a partir del do y bien se que Renata Tebaldi jamás cantó por encima de esa nota pero indudablemente en varias oportunidades tuvo problemas aún con el SI, eso para mi no le quita absolutamente ningún mérito. Renata Tebaldi es la cantante de ópera que más he disfrutado en mi vifa
@@lascosasporsunombreclaroyr7860 la gran RENATA TEBALDI solo canto de acuerdo a su técnica nunca canto papeles para demostrar versatilidad como la callas ella canto para hacer se popular para demostrar lo que nunca fue una soprano de calidad e por ello la efímera carrera cantaba desde opera Bell cantista a ópera verista la excelsa TEBALDI respeto siempre su línea de canto y tesitura en ella jamás se aventura a un aria como la de la reina de la noche o un aria como la de las campanas lo que la otra señora solo hizo el ridículo desgañitarse así la Tebaldi se respeto y respeto a sus administradores la gente quería oír en ella lo que la efímera callas hacia por eso la crítica todo en la TEBALDI era sinónimo de calidad de perfección aunque muchos ignorantes lo duden respeto al compositor no como muchos que con tal de lucirse hacen a un lado la partitura la gran RENATA TEBALDI es inmortal callas habrá muchas pero TEBALDI solo una
@@rodolfoalonso7568 fueron 2 grandes, pero la Tebaldi, fue mejor , le siento una voz calida, con matices que llegan al corazon del oyente. Ademas, que rostro tan bello!! Debe haber sido una bendicion para los que tuvieron la gracia de verla actuar y cantar en su tiempo. Parientes mios la vieron en el Colon de Buenos Aires, recuerdo que me hablaban superlativamente de "la" gran Renata. saludos cordiales..
This aria was added by Verdi for a particular high soprano and often the spinto soprano who is happy with Ritorna Vincitor is unhappy with this drop in aria.
Os agudos nunca foram o forte de Tebaldi...esse « dó do Nilo » ficou terrível, mesmo se o profissionalismo e a experiência a salvaram de um vexame. Que pena ! O timbre, o fraseio, o legato, o senso de estilo, tudo isso é maravilhoso. Mas, sem agudos, não existe ópera !
Si e arrivata alla nota pero calante presa per miracolo sullo spartito c' e scritta quindi si deve fare lei e sempre stata calante negli acuti purtroppo e cosi sopratutto i do ma anche i si bemolli
Malgré un beau timbre de voix ,Tebaldi fait une très mauvaise démonstration de cet air du Nil en ratant non seulement le contre Ut ,mais aussi tous les aigus qui suivent jusqu'à la fin de l'air ! Callas aurait été injuriée pour bien moins ça par le public .
Indeed. What a century voice but what a bad technique. The voice was damaged after few years and the fight with the top was getting more and more hard. Here she stopped acting completely, she was getting just cramped totally and fearful to reach this nearly impossible note and with a last hopeless view and fast pray to heaven... but, no chance. Its sad to watch. And not the accident of a single evening.
@@Sir.Larselot This is the only document exits where her C in O patria mia is not well sung.There are four Ghena Dimitrova Aidas, Spain 1982, Paris 1984, La Scala 1985 and Petruzelli 1987 and she loses the C in the four performances. there are audio documents of Anita Cerquetti when she was in her twenties in her very short career with missed Cs and Bs and false notes etc. There are documents of Zinka Milanov failed Cs and Bs, ofCaballé and so many other sopranos. BUT Tebaldi is the most hated soprano by the half of opera lovers because they are Callas fans, that' simple. Tebaldi has not more failed high notes in her documented discography "live" than the other sopranos,
@@ginopietracupa4305 Believe, whatever you want. Of course it's very human and not a disaster to fail a single high note because we are human and not a robot. Tebaldi was well known for her difficulties and fight with the top, you can read it in every book about opera. If you don't want to accept this, it's okay. I'm totally tired to discuss with hardcore fans about their idols and their tryings to force other people to adopt their opinions. Kind regards :)
@@Sir.Larselot I ask you a question, do you reason or are you irrational? You don't know how to listen to the recordings instead of repeating what the Callas fans say? The opera books are written by Callas fans, because Maria Callas is the biggest bluff in history and who is the singer that is ANTI Callas? Tebaldi. So the boycott against Tebaldi is total, the recordings show that Tebaldi had the most beautiful Bflat, B and C of all the lyric-dramatic sopranos (along with Birgit Nilsson). Ghena Dimitrova, Maria Callas, Maria Caniglia, Anita Cerquetti and more, they all have uglier high notes than Tebaldi , There are the recordings as a testimony of what I say
Sorry, nowhere near the best. Bless Tebaldi, her voice is just too "short" for Aida. That top C is unfortunate. She is a lovely artist, just not enough voice for this role.
Her voice was short because she didn't have the technique at the top. She sings the C at the beginning of her career but by this point, her lack of technique begins to show.
She wasnt at the top of her career in this recording but she is simply atonishing besides for the time the characterization was also very nice and her acting very expresive the only other Aída for me is Leontyne Price
![ลองสุ่มไอโฟน 990 โกงมั้ย? [ โกงมั้ยครับ ep.101 ] | DOM](http://i.ytimg.com/vi/bfsWe0j492k/mqdefault.jpg)
![Cornell MacNeil - Nemico della patria [Andrea Chenier] - Live 1983](/img/n.gif)
Esecuzione stupenda!!!
Il Do dei cieli azzurri non era splendido, ma non pregiudica in alcun modo questa stupenda performance...grazie
Renata Tebaldi's portrayal of Aida in the 1959 performance was nothing short of sublime. Her ability to convey the depths of emotion through her rich and velvety voice truly brought the character to life. Tebaldi's mastery of dynamics and phrasing allowed her to effortlessly navigate the intricacies of Verdi's score, capturing the audience's hearts with her poignant interpretation.
In "O patria mia," Tebaldi showcased her exceptional vocal control and impeccable technique, commanding the stage with her presence. The raw passion she poured into every note was palpable, creating a connection between the character and the audience that was truly captivating. Her duets and interactions with other characters displayed a profound understanding of the dramatic nuances of the opera, elevating the performance to a truly unforgettable experience.
Tebaldi's ability to convey both vulnerability and strength in her portrayal of Aida added a layer of authenticity to the character. Her chemistry with the other performers enhanced the overall production, creating a cohesive and powerful ensemble. While there might have been a moment that showcased the humanity of live performances, it in no way overshadowed the brilliance and artistry Tebaldi brought to the stage.
In this 1959 rendition of Aida, Renata Tebaldi's vocal prowess and emotional depth truly shone, leaving an indelible mark on the world of opera. Her performance, despite its inherent challenges, remains a testament to her skill and dedication as an artist.
Com’è facile attaccarsi ad una nota per criticare una cantante che ha fatto la storia della lirica in Italia e nel mondo. Ai cantanti spesso non si perdona mai uno sbaglio, una stanchezza, un cedimento. Credo che sia più giusto e opportuno guardare sempre a tutto il percorso di un cantante e quello della Tebaldi è stato semplicemente stupendo. In una voce ci sono tante cose, non solo gli acuti e lei lo ha dimostrato abbondantemente in tutto il tempo della sua carriera. Credo che davanti ad un’artista come Renata Tebaldi si possa dire solo una parola: G R A Z I E ❤️🎵❤️
Gran verdad, los oidos de discos de hoy en día o lo que es peor de mp3 solo aspiran a la estridencia y espectacularidad de un agudo metalico.... Cantar con sensibilidad y rindiendose solamente frente al autor de la partitura solamente los encontramos en plenos artistas de la talla como la GRAN RENATA TEBALDI. GRACIAS ES POCO, VIVA VERDI ❤
La nota fue alcanzada aunque no sostenida. No afecta en nada a la belleza de la línea de canto de la Tebaldi, una de las voces más hermosas del s XX.
#CanticumCordis...ben detto. Sono dallo stesso parere.
Io non la critico.
This lady knows what she is singing about and that beautiful voice
Thanks for sharing !!! " Il est temps que nous prenions la dimension de ces immenses voix ... "
Perfecta interpretación con un.equilibrio perfecto entre dulzura y fuerza...inigualable
Grande magnifica voce, artista eccelsa, donna elegante e simpatica
surely one of the greatest renditions of this superb aria thank you.
Not really.
The beauty of the timbre and the interpretive sensitivity are incomparable. Besides, Tebaldi was as beautiful as her voice. The elegance with which she moved on stage made her ideal for the role of Aïda. I don't know another soprano with such a stage presence.
¡ Totalmente de acuerdo !
Miss Tebaldi fue, es y será una diosa. La belleza de su inigualable timbre, su presencia escénica junto con su belleza física, en fin, todo el "combo" que ella es, hace que sea patrimonio universal. Gran artista que, aún y después de su partida de este mundo terrenal, sigue iluminando almas.
Exactly
but she could not handle it wen she had to go up there
@glaucoma888 if handling it "up there" is the pinnacle of your opera experience, then I'm truly sorry for you, I think you're missing something in this most beautiful art form.
La Tebaldi💚🌺 so talented and so beloved.
I love Aida, a magnificent Verdi 's opus. 💙🥀
I heard tebaldi as late as 1966 as desdemona with Vickers at Philadelphia Academy of music. Their voices had astonishing presence. I have NEVER heard a recording which reflected this power. I read that attendance is down in era houses. I urge people to expose themselves to the full scope of a powerful trained voice in a live setting. The experience was life changing.
The problem is there just aren't the singers like Tebaldi and Vickers out there today. With a few notable exceptions, MOST principal-role singers today would only be hired for comprimario roles in the 50's and 60's.
I agree. In person she was spellbinding. She had great charisma. Her smile in Tosca Act 1 was dazzling. I remember the first time I heard her voice, in the Cetra Andrea Chenier. I thought this is most beautiful sound I have ever heard. Now having just revisited her 1961 Berlin Otello, I marvel at her ease of emission, phrasing and gorgeous legato. Her Ave Maria just flows - she was unique - there will never be another Tebaldi!
The singing is different now. More suitable for the microphone and the recording studio. Maybe that's in part why theaters are empty? The art form is now intermediated by the recording studio and sound engineering. The singers just don't sound that good live...
Awesome! Ive heard this time and time again, particularly regarding tebaldi and hildegard Behrens. I wish i was able to see someone that awesome in person. I did see rene fleming a few times. Not a large voice, but shes a fantastic singer. 🤘
@@kimmillard9445 Absolutely. I think singers don't train enough nowadays, they sing too much too soon, they sing repertoire they shouldn't, and opera houses are more worried about how their singers look than whether they even have a voice.
La Tebaldi, voce gloriosa. Il mondo riconosce il suo arte supremo.
she is beautiful here! I was lucky enough to meet her in person many years ago- she was VERY tall and elegant, as she looks here- and I appreciate her singing here, despite the "accident" on the high note_ today we listen to far worse notes, and we clap hands
Brava, diva!
Great! thank you very much for sharing.
Purely beautiful 😍
great artist, when we are young we have no idea what its like to be older. things start to fall apart. Renata did a fine job with her high notes...if they weren t perfect so what?...you have to be old to understand. be we respect her for her abilities.
She was only 38 years old when this performance took place! It was unfortunate.
@@Zva26
¿Que acaso no fue humana?
It’s too bad about the high-C, but the rest of the aria is wonderful. And the beauty of Tebaldi’s voice always shines through.
She was great when she sang on the lyric side of her lirico spinto. When she sang roles like La Gioconda and Adrianna Lecouvreur and beefef-up the voice, it didn't work, And she wasn't old. Her performance of "La Wally" at Carnegie hall was tops . Even Bergonzi had a ring in his voice!
@@tommacdonald7990she was great as Gioconda. This high C in Aida is just very hard fof big voices. Sometimes it just doesn't goes even if thete is no problem with C. I understood it by my owm experience. Very strange feeling when you understand that you just can't do it😅. Usually composers wrote it much more comfortable.
@@tommacdonald7990 Adriana was a comfortable role for Tebaldi, and she sang it quite early on. I agree though that Gioconda was a stretch.
The high C the high C the high C blah blah blah. Tebaldi rarely had that note. What she had was style, intelligent phrasing, resonance, power, a truly gorgeous mid-to-upper range, and that special vocal and stage presence that defines a legend.
Not really. She had one of the best high C's in the business - for several years THE best.
@@machovoce6826 Please provide a link to a recording to back up this claim.
@@chiedu90069 There are many TH-cam clips from the 50’s of the ‘Inflammatus’ and her most famous C, at ‘Io quella lama’ in ‘Tosca’ Act III. They are massive tones and completely in tune.
@@chiedu90069 th-cam.com/video/LmHBbnTgjFI/w-d-xo.html
@@ginopietracupa4305 Thank you! When she nailed it, she nailed it. But again, I don't care. Renata Tebaldi was much more than a couple high notes. If high notes were everything, we'd be listening to Mado Robin - who I love, but not nearly as much as Tebaldi.
Her sound was extremely gorgeous. In deed, it's a pity the lack of the high note but the beauty of her voice is such that I don't really care about it.
Magnifica e stupenda RENATA TEBALDI ❤️
💚 Tebaldi.
💚 Verdi.
💚 Aida.
She's perfect. Just perfect. Even the way she sensed "that note" was about to go flat or crack and the way she went off it gracefully and continued are a testament to Art.
Sometimes it's more interesting to observe singers in moments like these that when they are 30 years old and timidless.
Elle rate le contre Ut. Tout de même !!!
La perfection ce n'est pas cela .
Perfect ??? En ratant toutes les notes aiguës ? Je vais vous offrir des aides auditives 😊😊
@@eberlinpascal2837 Toutes? Non seulement vous ne pouvez pas entendre, mais vous êtes un imbécile. 🤣🤣🤣🤣🤣🤣🤣🤣🤣🤣🤣🤣
@@genlyai5055 écoute mon pote ,puisque j'ai affaire à une racaille je vais me mettre à ton niveau pour te répondre .Donc : NTM .
@@eberlinpascal2837 Cheri. Vous n'avez pas d'oreille, pas d'esprit et pas de goût. Tu es scolarisé, tu es mortifié par moi, et tu es bloqué.
Portamento scenico di grande stile, e la VOCE sublime, il colore dei suoni, la dizione perfetta - mai più nessuna come Renata
Pasará más de un siglo hasta que vuelva a aparecer un fenómeno vocal de este calibre sobre los escenarios operísticos.
That's a very good night in the opera house... these days! My goodness, such snotty comments. I sang (chorus) with Sills, Sutherland, and Millo. Tebaldi did very well here. I've heard recordings where she's better. And I heard nights on stage, when other 'greats' were off. But the artistry endures... and that's what counts.
Glorious Interpretation..It's impossible to hear it better than this.
GRACIAS POR ESTOS REGALOS
Grande
Sta di fatto che dopo quelle recite a Parigi la Tebaldi cantò ancora Aida per due sere a Vienna con Karajan nello stesso mese, poi l'abbandonò definitivamente. Evidentemente il ruolo le creava ormai problemi, e non solo per il do di "cieli azzurri": anche i due pianissimi finali denunciano difficoltà. Arrivare ad un punto in carriera in cui si deve rinunciare ad un ruolo rientra spesso nell'ordine delle cose: le era già avvenuto due anni prima con Traviata. Ciò non toglie nulla alla grandezza di Renata Tebaldi.
Il diesis verdiano della Tebaldi é un canone assoluto per li lirici.
Спасибо всем, кто защищает певицу, хотя хочется сказать, что уж РЕНАТА ТЕБАЛЬДИ менее всего нуждается в этом. Это великая певица!!и она - живой человек, как мы знаем и Карузо ставил петухи, но он не перестает из-за этого быть тенором номер 1)) .
У всех бывали не совсем удачные выступления. Даже Каллас и Паваротти освистывали в Ла Скала. Последнего даже выгнали со сцены
Every singer has some days great...other days not so great - the human body is temperamental.
Tebaldi had the most beautiful voice in opera....and she had a musicality that was impeccable....Too bad about the High C - the rest was beautiful.
This lady knew how to sing. All the way!!! Glorious sound.
Браво! ❤🙏💐
She did not ,freak out,. Every live performer will come against a day when things do not all go as they should.Tebaldi is the kind of singer who will very rarely cheat a phrase as written by the composer. A quick breath before the c would have nailed the note but spoiled the line of tbe phrase.she knew already half a phrase earlier that the voice may not go there tonight,but she went for it anyway .if its any concilation,the next performance in paris the C was huge.
The C sounded and it was on pitch...she just couldn't hold onto it. It happens. She knew how to handle it.
My favorite soprano since I first heard her. Love her in the role & especially her Ritorna vinci tor aria. For me, Patria mia fits the voice of Price like a glove where the high pianissimos seem to enter a cavern . Never heard
Tried to finish by saying that I never heard anyone sing Patria as easily as Price did.
Estamos escribiendo al pie de una versión de o patria mía donde tiene una falla en el famoso do. Existe al menos una versión del aria de Suor Angélica donde el agudo final está notoriamente calado, inclusive el pianisimo final de esta o patria mía tiene dudosa afinación, Pero no entiendo que estamos discutiendo porque para mi Renata Tebaldi tenía la mejor voz del mundo aunque eso no quita que se aprecien algunas dificultades
Celeste Tebaldi!
Aïe aïe aïe !!!! C'est dur !!!!
Aprile Millo's Aida is the best of them all. She is the follower of Tebaldi's and Muzio's traditional scholl of Italian singing. Verdi at its best!!!
Fantastica
Ejemplo para nosotros lo cantantes que aprendemos de ella
Brava
💖🌹
Even Milanov had issues with that C. Ponselle, too. We pitch orchestras too high.
and Dimitrova ? th-cam.com/video/7xg-Z3OBh54/w-d-xo.html
It's regrettable that Md. Tebaldi only rarely had a totally secure high C, but when an entire aria is sung as magnificently as Oh Patria Mia is here, and when it is capped off with an imperious final high B, It is churlish of me to mention it.
Tebaldi rarely had a totally secure high C ? How can you say such a barbarity after being all her official opera recordings and so many "live" where all the Cs are there and are not only excellent but very very beautiful
the phrasing, the diction, the manner. All ideal for this role. The high C just an accident, she sang plenty better ones.
Si trattò, in fondo, solo di un acuto toccato e subito abbandonato, senza scrocchi né stecche, ben perdonabile a chi aveva da sempre disegnato col suo canto cieli azzurrissimi e mai inquinati!
Exactly. Marvelous
Exactly. Marvelous
She always had an iffy high C... Huge to pathetic like in here lol
@@JK-xz6mj the only iffy thing here is you. Just another jealous Callas widow. Wobble away sweety... Lol
RIP Renata Tebaldi (died #otd in 2004) 🌹🌹🌹
I’ll just add that when Beverly Sills was asked to describe an Italianate spinto voice, she said, “It’s hard to define, but the greatest for me were Ponselle, Tebaldi, and Price.” No argument from me!
Sills was completely right. I would replace Ponselle with Muzio but that is just a personal preference.
Price's sound was unique to her. I wouldn't call it "Italiante." As she once said herself, it was a sound that could only come out of a black woman's mouth. At it's best, it was shimmering molten gold wrapped in velvet. I agree with the Tebaldi/Muzio/Ponselle trio as examples of true Italianate sound.
@@Shahrdad I think Sills was referring to the juiciness of the sound. Muzio's voice would probably have been a bit slender to qualify.
@@ER1CwC I don't think Price was ever a spinto, but as she described herself, "A lyric; a juicy lyric, but a lyric." I think that's why Fanciulla almost destroyed her voice, since it was a true spinto role rathan than a lyric role.
@@Shahrdad I completely agree that she was a big lyric soprano with more in common with Steber, but I think juiciness is a different thing. An even lighter singer who had a similar quality in my books was Freni. Compare Freni to say Elisabeth Grummer or Lisa Della Casa. All three were were lighter lyrics. But Freni's voice was juicy, whereas Grummer and Della Casa's were shimmery and silvery. Thus one was Italian, whereas the other two were Viennese.
People wanna criticize nowadays divas but Tebaldi had trouble with this aria on many different occasions and nobody says a word about it. Why don’t people just recognize that this is a hell of an aria and in many cases is a lottery for most of the sopranos singing it, whether they are divas from the 50’s or recent divas. Each of them have their own qualities and issues. Tebaldi has the perfect Italian singing, fantastic legato, Price the perfect floated pianissimi, Netrebko the beautiful color of the voice, Siri the fantastic squillo in her voice and her ultimate fiato. Let’s respect all the sopranos who are brave enough to step on a world-class stage and sing this role.
Not really...Dame Eva Turner spoke about the difficulty of this aria and it was always well know.Tebaldi struggled with the high C and she stopped singing AIDA after 1959. I personally wouldn't mention Netrebko is in the same phrase as Tebaldi and Price.
The fact that you mention Netrebko and Tebaldi in the same comment demonstrates what a debased dilettante you are.
She describes in her biography how this was for many reasons not a good period for her. I think she must have been thinking about how to deal with the C from the start, since she is flat in a number of places earlier.
So what happened at the high C? I always found her upper register difficult to listen to, but her middle register was so beautiful.
I read the comments criticizing Tebaldi that her voice was too this or that or lacked blah blah blah and blah. You guys dont get it.you think if you scream to the public that Black is really White, for long enough they will eventually believe you.I can assure you tbat Renata went on to sing for another17 years after that particular performance and one of her last roles was mrs quickly in falstaff at the met in 72 where her final note was a high C sustained for 9 beats of the bar.,...bang on pitch...i have a tape.
Luigi Corvi Thanks so much for setting these " experts" straight. Back seat criticism of any one aspect of a live performance as the defining moment of the career of a performing artist of this stature is so unfair.
If she sang mrs. Quickly why would she sing a high C???
As much as I love Tebaldi but the fact that her high notes after 58 were hit and miss (mostly miss) is obvious. It's also known that by early 60s she was in her worst vocal condition due to many things like bad habits (pushing the voice to sound more dramatic, and singing high notes with too much heft etc.), and her mother's death.
Mr. Corvi: In 1972 Tebaldi sang Alice Ford in Falstaff. The note to which you refer is a high B flat -there is no high C written for Alice Ford. Also, Dame Quickly is sung by a mezzo. I have this Met broadcast on CD and I believe that Regina Resnik is the Dame Quickly. Alice Ford was a good role for Tebaldi by then because she could enjoy a large role without exposing her limitations in her uppermost notes. She was a wise woman and she knew she was approaching the end of her opera career with this broadcast. She returned to the Met the following January in 1973 for three performances of Desdemona in "Otello" and then left the Met for good. She did continue to give recitals and concerts for a few more years. By the end of 1975, her voice was forever silenced. She then embarked on several Master Class tours throughout Europe.
YT is full of idiots - not unlike the USA in general. Tebaldi is one of the greatest singers of the 20th century. No one today even comes close. AIDA was a superb role for her - I just wish she hadn't sung it as often as she did. 1959 is the year of the horrible Warren disaster at the Met. Even so, she's absolutely unsurpassed as the Forza Leonora and several Puccini heroines.
GRANDE AIDA SPLENDIDO TIMBRO CANTATA BENISSINO OMOGENEA COLORE IRIDESCENTE
Hers is a perfect voice. She was very critical of upcoming singer who did not have the training necessary for excellence.
This was her final Aida of her career. She started having two distressing problems: the top C at the end of the aria tended to become so flat that she had to drastically shorten it, thus blemishing the climax. The final top A, unfortunately cannot be abbreviated and it flattens like a pancake. She's a good semi tone flat and it makes the orchestra sound out of tune. Too bad because because the voice itself was gorgeous. Tebaldi was unfortunately a "soprano corti" (a short soprano) meaning that her effective range at this period went about as far as a B natural. The top C, especially in this aria, became such a trial for her that she dropped the role of Aida from her repertoire. But she continued to sing many other operas beautifully. That top soft C is a bugaboo for many sopranos anyway. Very few sopranos have gotten it and nailed it.
The final A sounds completely fine to me. She was flat at times for sure, but not in this situation.
Sir, she is truly flat...
El do del final del aria ha sido el dolor de cabeza de muchas sopranos desde que Aida se estrenó, especialmente para Renata Tebaldi cuya voz no tenía pasaje, sin embargo es verdaderamente sorprendente como la posibilidad de fallar en algunos agudos no alteraba en absoluto la inmensa calidad de todas sus interpretaciones.
Larry Mitchell Right .she s always flat.she could be in a very bad evening.I have always had some question marks about all this so famous work of Carmen Melis on her voice ,I dont see a technique without problems ,in the first years they were not so obvious.she had exaggerated also on her natural opulence ,& this doesn't help to conquer the high notes.with another technique,propably she'd have avoided to lose the top.
But Italy in 40s &50s was able to present many good Aidas ,not missing their C.
Pedrini,Guerrini,Caniglia,Cerquetti,Stella,Tucci,De Cavalieri,Barbato
Eleusis' Midnight Sun Tebaldi flat high notes ? In her opera recordings (discs) there are not recorded flat notes, on "live" if there is any high note is slightly flat, neither more neither less than any other soprano. All the sopranos you mention : Caniglia, Cerquetti, Guerrini, Stella, Barbato ecc have high notes of lower quality, beyond they are totally inferior singers to Tebaldi.You show you do not understand anything about voices Eleusis, in all the existing co-documentation of Tebaldi, there is only one document where she does not well the C in O patria mia, and it is this, from Paris 1959, she does not crack , and the C is not out of tune either, she simply cuts the note inmediately because she notices her throat is closing, but this is the only one existing document of Tebaldi O patria C that is not well sung, and we have to read what you wrote , that she is always flat, that misses the C always , don't you think that's crazy ? it's fiction. I do have three (3) Ghena Dimitrova "live" Aidas, Spain 1982, Paris 1984 and La Scala 1985 and she misses the C in the theree performances th-cam.com/video/-zvBGrHG4BU/w-d-xo.html
Trovo veramente
iniquo e fuori di ogni contesto filologico il commento del Sig. Tomba, il quale si permette anche di osservare che la tebaldi prende fiato dove le pare, evidenziando solo la propria ignoranza musicale sia della pagina scritta che della tradizione cantata dai più grandi soprani del secolo. Quello che trovo indecoroso non ha nulla a che vedere con la Tebaldi la cui grandezza è qui presente tutta, pur in un momento di stanchezza. Trovo indecoroso che la si
massacri per un momento difficile, sottacendo tutto il bello che è davanti a noi, e si perdoni a priori alla Callas tutto: una Callas che anche nei momenti migliori di suoni infelici e oscillazioni e bruschi scarti di suono ha sempre dato ampia elargizione al suo pubblico. Qui Aida c'è tutta: la Tebaldi canta bene, è stanca, è affaticata, ed è in difficoltà nella salita al Do sovracuto ma l'aria è eccellente nei portamenti, negli smorzamenti, nel canto a fior di labbra. Concordo che non è il suo "cieli azzurri migliore della carriera" ma si faccia avanti chi non ha mai avuto un momento di stanchezza che gli ha impedito di dare il massimo. Le acciaccature di "azzurri" "dove
sereno" e "fresche valli" "che un dì promesso" sono perfette, e non tutti i soprani, dal vivo, le cantano bene, facendole sentire, e questo la tebaldi lo può fare perché ha la voce a fior di labbra e non in gola, dove si affossa. I portamenti al do centrale "o dolci aure native" "quieto asil beato", cantato sfumato come specifica Verdi, sono inattaccabili e frutto di grande arte e padronanza tecnica. Il gioco di colori c'è tutto, i forti e i piano idem, in un rispetto filologico e agogico del testo scritto da manuale. I fiati contestati da Tomba 2 quando dice che la signora prende fiato dove le pare, sono invece perfettamente corretti e in linea con i portamenti di tradizione: in quest'aria, infatti, lo spartito consente molta libertà nelle prese di fiato, assecondando l'indole delle varie interpreti. Voglio ricordare a Tomba 2 che i fiati che la Callas (tanto per citare una delle più grandi artiste, sono diversi se ascoltati nelle recite live e nella incisione Emi: così anche quelli della Caballè e della Price: in quanto il tempo dettato dal direttore e concordato con la cantante, varia a seconda delle prerogative di quest'ultima. La tebaldi sceglie in cieli azzurri un tempo lento, e ovviamente le serve più fiato per dipingere l'atmosfera. Ma i fiati, all'interno delle grandi frasi scritte da Verdi, sono perfettamente integrati e conformi alla tradizione interpretativa dell'aria. Fatta eccezione per la salita al do sovracuto, dove la penultima nota e il do sono infausti, il resto è cantato con osservanza e arte. Fermo restando che in questa serata a Parigi la Tebaldi era visibilmente stanca. E, non per critica ma per onor del vero, voglio ricordare qui che la salita al do sovracuto di una Callas, per quanto la somma artista fosse ferratissima tecnicamente, non sfociava in un suono dolcissimo e bello bensì sforzato e
oscillante, così come oscillante, opaco e vetroso è sempre stato per la Callas il la naturale della chiusa. Quindi auspico che nelle critiche si esprima sempre coscientemente un giudizio oggettivo e generale sulla resa.
Qui la resa della Tebaldi non merita il giudizio che i suoi detrattori hanno formulato.
Quotissimo tutto, alla calals si perdona tutto!!!! Succede per Renata con la callas quello che per Mariella (Devia) succede con la gruberova....purtroppo.
Guarda che se vuoi parlare con me basta cliccare "rispondi".
È ridicolo che mi chiami "detrattore"... Non mi interessa detrarre niente della Tebaldi.
Neanche negli anni e momenti migliori il suo registro acuto era facile.
Parli della Callas....(che io manco ho nominato). Difetti o no basta ascoltare la sua Aida del 50.
Sale al Do tranquillamente e smorzandolo. Se pensi che parlare dei difetti della tua diva sia essere un detrattore... Beh non so che dirti... Fatti tuoi.
Per Mandolino: cantantuncole mummiesche non meritano di essere nominate insieme alla Callas e Tebaldi
Un commento magistrale che fa scuola di canto!
@@Tkimba2 , come tu dici ho cliccato su "rispondi"...e rispondo solo a te...m'era sfuggita la "Divina Commedia", data la lunghezza dello scritto del Signor di poc'anzi sopra...non mi pare che l'atmosfera esca fuori piu' di tanto, come dice il Signore di poc'anzi sopra...qua' nessuno detrae ma semmai cala, che e' assai differente. Sui "famosi" La bemolle conclusivi bisognerebbe aprire alcune gravose parentesi che ora non e' il caso di aprire pur se chiuse da tempo. Sul "tempo lento" preso..beh...prendeva tempo, come Norma al primo atto, per arrivare, si fa per dire, al Do conclusivo il piu' tardi possibile. L'assenza della tecnica portava a questi giochetti. Sempre. L'altro Signore poco sotto dice che alla Mariella accade cio' che accadeva alla Renata con la Maria rispetto alla Gruberova...a parte alcune cosacce degli ultimi anni la Gruberova aveva un colore di voce ed una tenuta "sfolgorante" che la "Mariella" mai ha posseduto, neppure se avesse evocato la Malibran in una seduta spiritica...magari apparivano, piuttosto, gli Addams. Tomba 2, ciao. Rispondi, mi raccomando.
Non posso credere che ancora oggi esistano queste acredini. Io quando ascolto queste voci vado in estasi e ringrazio la Natura che ci abbia dato questi talenti.
The problem here is that she needed to drop her jaw some of the time but also that on the top she loses the vibrato action. It almost straight tones. And has the habit on the very top to spread of it horizontally when it needed to be vertically through the chin lowering down and narrow and showing the upper teeth but never spreading horizontally. But if the vibrato stops we get into trouble. I have to increase on the top.
Renata has recordings of this aria of much better quality
Хто б не любив Ренаточку..
E aquí a la más grande de las Aidas muchas sopranos tuvieron la influencia de la Bella RENATA TEBALDI para abordar este papel modelo a seguir hasta la actualidad nadie puede hacerlo mejor que la Diva de Divas solo ella es grande única aunque muchos ignorantes creen que con los gritos desbordantes que no son parte de la partitura la TEBALDI queda corta no ella entra se envuelve en el personaje dando vida a este personaje de Verdi quién como ella para Leonora su Desdemona Tosca y todos los personajes de Verdi y Puccini ella la grande con su técnica y línea de canto perfecta incomprendida he incomparable para muchos que no entienden el arte de esta gran soprano italiana y que muchos han tratado de poner como igual a la malograda María Callas efímera eso jamás la ópera solo a tenido una Diva eterna y gloriosa la gran RENATA TEBALDI
There is the full recording of this Opera on video with Tebaldi? Or it just this segment? Thank you!
The full act 3 was televised. Opéra de Paris , June 5th, 1959.
4:09
Pure gold?
❤️❤️❤️ Brava
Quant'è stupido attaccarsi a un do sovracuto...La perfezione non è di questo mondo, di ognuna delle grandi Aide o in generale dei grandi cantanti di ieri e di oggi possiamo trovare difetti, quello della Tebaldi era senz'altro un registro sovracuto non facilissimo, ma a compensare questo c'era tutto il resto: un timbro di bellezza celestiale, una vocalità omogenea, solida, capace di una morbidezza e insieme di uno squillo incredibili, sontuosità e nobiltà di fraseggio, dizione scultorea...
In più, "piccolissimo" dettaglio, dimenticate che il signor Verdi voleva il diapason a 432 Hz, perciò il "do" non sarebbe sicuramente stato quello che la Tebaldi era obbligata a cantare, non vi pare?
Concordo pienamente!
Ecco qui un timbro sontuoso, una vocalita omogenea e solida e sopratutto un do sovracuto perfetto .....
th-cam.com/video/a5zpf8A_Sn4/w-d-xo.html
Spiegare qualcosa di importante alle capre non ha senso ... questo è un capolavoro.
Peccato che la Netrebko non abbia la stessa bella voce. D’altronde non si può avere tutto.
@@gianlucabrunetti3214 Netrebko AVEVA bella voce, adesso si occupa di mostrare il corpo e fantasia culinaria. Lei è indietro con suo cammino 😃 professionale😃😃😃
It must have taken great courage to perform roles with notes that usually did not work in live performance. Did any interviewer ask for her thoughts about this? "Miss Tebaldi, the Nile Scene high-C almost never worked for you in performance. How did you manage to do 40 performances of the role?" 6:13 is the difficult moment here.
R.Pariente : magnifique; mais aujourd'hui le son est faible.
Para “Aïda” hubo sólo 4 verdaderas exponentes: Renata “La Voz De Ángel” Tebaldi, Leyla “La Sultana” Gencer, Galina Vishnevskaya y Gilda Cruz-Romo (que se la consideró la mejor Aïda del siglo en La Scala Milanesa), la cima de Aïda no es el Do6, es aguantar los dúos con Amneris, Radamés y Amonastro, cosa que Tebaldi pudo mejor que nadie, la voz no se fatigaba, los aplastaba a todos con esa proyección de Spinto que hacía que el volumen fuera bestial.
You should also check Virginia Zeani.
And Price? 🥺🥺🥺🥺
I’m so happy I’m perfectly able to enjoy other singers than my all time favourites- most great singers have something valuable to
offer which the others don’t have and which makes them unique. This enriches my musical experience and educates me again and again. I even listen to voices I don’t appreciate and then try to find out what it is I don’t like. Keeps me fresh and interested.
I would like to hear such a voice today. Full, creamy, legato, diction, phrasing, colour etc etc. Many of the comments about the C come from men. I wonder how many are singers. I also wonder if any of them realise that at a certain time of the month the female vocal folds become slightly swollen; the resulting increase in mass causes the acute notes to fall slightly flat and nothing to be done about it. The singer should make no attempt to fix it as when the folds return to normal size after that natural process is finished the mechanism could have been stressed by fiddling with tones produced while the instrument was out of balance. As a teacher myself of my pupils was a principal soprano in St. Petersburg Opera. She told me soviet then Russian sopranos planned appearances with diary in hand although they would resort to the pill to regulate the monthly cycle, but they were excused from performing without it affecting their salary. So guys, have a heart, singers in the West were not allowed such luxury or understanding of the physiology underlying the instrument. Let’s all be grateful for what Tebaldi gave us, rather than what she didn’t.
Michael Dale yeah it’s called singing correctly
@@gabriellavanderveer4931 and you're lady how dare you turn on your own sex LOL 🇫🇷💃🎶🎼🎵 Arnold Bourbon Amaral
@@gabriellavanderveer4931 Tebaldi DOES sing correctly. You are a moron.
But Tebaldi had this problem quite often.
@@golden-63 As she aged, yes. No one with a functional mind tries to argue that some difficulty with high notes (which ALL so-called singers have NOW and have for decades, due to the death of training and singing) means that Tebaldi was not a great artist and singer.
I'm not really a fan of her voice w / or w / o the c ... but the artistic self-confidence & presence-of-mind to continue after a vocal issue in front of a live audience is amazing !
Her last note was ravishingly beautiful !
Was this filmed at the old MET?
No, in Paris, I believe.
@@trrill what happens in Paris stays in Paris 🇫🇷😩 Arnold Bourbon Amaral LOL
Not sure if she just forgot how to support her every note, or she just freaked out after the first one.
Она лучшая.
Renata tebaldi the best voice the best soprano y maria callas the best voice
A lot of the more opulent-voiced sopranos have had to eventually drop Aida from their repertoire. Rosa Ponselle and Regina Resnik come to mind. Of course, Resnik changed over entirely to Mezzo and Contralto roles altogether while it is now believed that Ponselle was a true contralto with fantastic register integration and a superb upper extension. She HATED the high C in "O Patria Mia." She WANTED to switch to roles like Adriana Lecouvreur and other parts with lower tessituras. Edward Johnson balked at this and Ponselle ended up quitting altogether. Of course, with Tebaldi, the Met relented and let her revive Adriana with historical results.
seeing that your comment is by far the most recent, maybe you could have a little short conversation with me regarding Tebaldi haha. I feel like there are few sopranos who struggle singing high C’s so why someone like Tebaldi just transition to higher mezzo roles like the ones Verdi wrote? why did she have to stay a soprano??
@@lamb4mc , I think because for Tebaldi, her best voice where it was at it's most beautiful with the greatest color was still in the lyric-spinto Soprano repertoire. So, she just had to drop stuff with the exposed high C's such as Aida. She did record stuff like O Don Fatale and Mon coeur s'ouvre a ta voix, but it really didn't quite work for her. Just not her fach or where her voice was the most beautiful.
On the other hand, Resnik absolutely NAILS those arias. And as far Ponselle, her later recording of Mon coeur s'ouvre a ta voix is an absolute treausure... Probably the best the aria has EVER been sung. Also, Resnik took quite a risk in her career with her decision to move to mezzo roles. In retrospect, it worked out great for her and for us, but it could have spelled the end of her career if impresarios refused to cast her in Mezzo and Contralto roles like they did with Ponselle.
Ponsele was not a contralto as many would (moronically) believe. She was a true dramatic soprano. Period.
Nell Aida, era meglio la Tebaldi alla Callas😅
Quello che trovo indecoroso non ha nulla a che vedere con la Tebaldi la cui grandezza è qui presente tutta, pur in un momento di stanchezza. Trovo indecoroso che la si massacri per un momento difficile, sottacendo tutto il bello che è davanti a noi, e si perdoni a priori alla Callas tutto: una Callas che anche nei momenti migliori di suoni infelici e oscillazioni e bruschi scarti di suono ha sempre dato ampia elargizione al suo pubblico. Qui Aida c'è tutta: la Tebaldi canta bene, è stanca, è affaticata, ed è in difficoltà nella salita al Do sovracuto ma l'aria è eccellente nei portamenti, negli smorzamenti, nel canto a fior di labbra. Concordo che non è il suo "cieli azzurri migliore della carriera" ma si faccia avanti chi non ha mai avuto un momento di stanchezza che gli ha impedito di dare il massimo. Le acciaccature di "azzurri" "dove sereno" e "fresche valli" "dove sereno" sono perfette, e non tutti i soprani, dal vivo, le cantano bene, facendole sentire, e questo la tebaldi lo può fare perché ha la voce a fior di labbro e non in gola, dove si affossa. I portamenti al do centrale "o dolci aure native" "quieto asil beato", cantato sfumato come specifica Verdi, sono inattaccabili e frutto di grande arte e padronanza tecnica. Il gioco di colori c'è tutto, i forti e i piano idem, in un rispetto filologico e agogico del testo scritto da manuale. I fiati contestati da Tomba 2 quando dice che la signora prende fiato dove le pare, sono invece perfettamente corretti e in linea con i portamenti di tradizione: in quest'aria, infatti, lo spartito consente molta libertà nelle prese di fiato, assecondando l'indole delle varie interpreti. Voglio ricordare a Tomba 2 che i fiati che la Callas (tanto per citare una delle più grandi artiste, sono diversi se ascoltati nelle recite live e nella incisione Emi: così anche quelli della Caballè e della Price: in quanto il tempo dettato dal direttore e concordato con la cantante, varia a seconda delle prerogative di quest'ultima. La tebaldi sceglie in cieli azzurri un tempo lento, e ovviamente le serve più fiato per dipingere l'atmosfera. Ma i fiati, all'interno delle grandi frasi scritte da Verdi, sono perfettamente integrati e conformi alla tradizione interpretativa dell'aria. Fatta eccezione per la salita al do sovracuto, dove la penultima nota e il do sono infausti, il resto è cantato con osservanza e arte. Fermo restando che in questa serata a Parigi la Tebaldi era visibilmente stanca. E, non per critica ma per onor del vero, voglio ricordare qui che la salita al do sovracuto di una Callas, per quanto la somma artista fosse ferratissima tecnicamente, non sfociava in un suono dolcissimo e bello bensì sforzato e oscillante, così come oscillante, opaco e vetroso è sempre stato per la Callas il la naturale della chiusa. Quindi auspico che nelle critiche si esprima sempre coscientemente un giudizio oggettivo e generale sulla resa. Qui la resa della Tebaldi non merita il giudizio che i suoi detrattori hanno formulato.
buongiorno, evidentemente era stanca, concordo e concorda anche lei. Però l'aver chiamato in causa altre grandi cantanti serviva al completamento del ragionamento: il Cieli azzurri non si risolve esclusivamente con il do acuto: dove altre cantanti, a paragone della Tebaldi, hanno un do acuto migliore, soprattutto nella capacità di controllo. Serviva invece a sottolineare che la costruzione dell'intera aria fatta dalla Tebaldi è certamente migliore rispetto alla Caballè, alla Callas, alla Price, alla Nilsonn, alla Gencer e così via; e ciò avviene per la morbidezza e il nitore del timbro, per le sfumature e gli alleggerimenti delle frasi, per l'eleganza dei portamenti, e per la solidità della colonna d'aria. Credo di essere in buona fede quando dico che il paragone delle altre grandi alla Tebaldi non regge, ed è a loro sfavore. Ma se per la valutazione complessiva, Lei ed altri melomani, volete considerare esclusivamente le tre note della salita al do acuto, allora -ovviamente- il giudizio diventa parziale. Un saluto cordiale.
@@sandro7799 Lungi da me la limitazione alle note alte,penso che occorra, per criticare ,un'estetica musicale,che certo attenua il fanatismo. La Tebaldi l'ho ammirata alla Scala due volte,incantevole con i limiti umani di tutti.Il suo apice non è qui,ma provi a riascoltare la Selva opaca e le Nozze del 54l,un gioiello purissimo,notai.Un saluto cordiale.
6:16-6:17 was awful.
Son contadas con los dedos las sopranos que salen airosas de ese do dificilisimo. Por cierto, dos de esos dedos están ocupados por las venezolanas Inés Salazar y Ana lucrecia García las cuales lo abordan como si estuvieran tomando un vaso de agua
Смотреть на нее больно
Каждая высокая нота как испытание
OK but - that's all.
Zinka Milanov era melhor como Aida. Em 1953 ela gravou essa ária... Uma gravação antológica aos 47 anos de idade!
The perfect Aida. None better.
Not perfect but the best.
I want to give credit where credit is due, but I'm sorry...I can't imagine Maestro Verdi writing a climactic arch to the aria with the line ascending to High C with descension, and not having it realized. Why would Tebaldi get a pass? Today, if a Soprano cannot sing the notes, they don't get the role.
Today so-called 'sopranos' can sing NONE of the notes properly or correctly. You need an ear transplant, honey.
At 6:08 you can see she starts preparing for the high C and is expecting to mess it up - she had no confidence in her own instrument in its top register, with good reason - she very often had major mishaps above an A. I always wondered if she sought a teacher to straighten this out, and she simply never was able to learn it, or whether she didn’t even try to correct it.
Madam, How can you say she "very often" had major mishaps above A ? this is the only one document of a Tebaldi "O patria mia" where the C is not well sung. I do have three (3) Dimitrova "live" idas and she misses the C in the three consecutive performances, Spain 1982, Paris 1984 and La Scala 1985 th-cam.com/video/-zvBGrHG4BU/w-d-xo.html
Gino Pietracupa a lot of her live recordings have problems above the stave. Dimitrova is another case entirely, there are many roles that she should not have been singing and were a disservice to the public.
where are the "lots of live recordings" where Tebaldi has problems above the stave ? Give audio exmples, not sentences
@@ginopietracupa4305 People who don't know what they're talking about often have a lot to say.
@Walter Monteagudo Two part series from the uncomfortable to the disastrous from across her whole career
th-cam.com/video/6DMULZCjazw/w-d-xo.html
th-cam.com/video/cKAgUpAR91Q/w-d-xo.html
Un peccato tanto pubblico parli di note acute, senza alcun riferimento alla dizione, al senso del testo, al "canto sulla parola", all'omogeneità dei suoni, al colore giusto per il ruolo. Un manuale di canto, questa romanza interpretata dalla Tebaldi, e non ce ne si accorge.
Martinazzo, guardi, non siamo cretini. (1)
Nemmeno cortesi.
Martinazzo, guardi, non siamo cretini. (2)
Grazie per l'interesse da Lei mostrato per i miei commenti, Sig Garzi. Pregandola di non farmi tornare per conversazioni puerili, Le porgo la buonasera.
Martinazzo, la prego, la invito a restare, cosi potra' confrontarsi piu' gradevolmente con i suoi simili.
aigu à l'arraché, ça la fout mal pour une des plus grandes cantatrices de l'histoire. Faute technique caractérisée.
Yo creo que el problema no era de técnica sino de que Renata Tebaldi no tenía en su voz notas de pasaje, esto favorecía su emisión pura y hermosisima pero perjudicaba su capacidad de cantar algunos sobreagudos con calidad, por esta razón algunos la catalogaron como soprano corta. Sin embargo esto pareció y parece tener poca o ninguna importancia para sus millones de admiradores.
Si, estoy consciente de que sobreagudo es un término destinados a notas a partir del do y bien se que Renata Tebaldi jamás cantó por encima de esa nota pero indudablemente en varias oportunidades tuvo problemas aún con el SI, eso para mi no le quita absolutamente ningún mérito. Renata Tebaldi es la cantante de ópera que más he disfrutado en mi vifa
@@lascosasporsunombreclaroyr7860 la gran RENATA TEBALDI solo canto de acuerdo a su técnica nunca canto papeles para demostrar versatilidad como la callas ella canto para hacer se popular para demostrar lo que nunca fue una soprano de calidad e por ello la efímera carrera cantaba desde opera Bell cantista a ópera verista la excelsa TEBALDI respeto siempre su línea de canto y tesitura en ella jamás se aventura a un aria como la de la reina de la noche o un aria como la de las campanas lo que la otra señora solo hizo el ridículo desgañitarse así la Tebaldi se respeto y respeto a sus administradores la gente quería oír en ella lo que la efímera callas hacia por eso la crítica todo en la TEBALDI era sinónimo de calidad de perfección aunque muchos ignorantes lo duden respeto al compositor no como muchos que con tal de lucirse hacen a un lado la partitura la gran RENATA TEBALDI es inmortal callas habrá muchas pero TEBALDI solo una
@@rodolfoalonso7568 fueron 2 grandes, pero la Tebaldi, fue mejor , le siento una voz calida, con matices que llegan al corazon del oyente. Ademas, que rostro tan bello!! Debe haber sido una bendicion para los que tuvieron la gracia de verla actuar y cantar en su tiempo. Parientes mios la vieron en el Colon de Buenos Aires, recuerdo que me hablaban superlativamente de "la" gran Renata. saludos cordiales..
This aria was added by Verdi for a particular high soprano and often the spinto soprano who is happy with Ritorna Vincitor is unhappy with this drop in aria.
Os agudos nunca foram o forte de Tebaldi...esse « dó do Nilo » ficou terrível, mesmo se o profissionalismo e a experiência a salvaram de um vexame. Que pena ! O timbre, o fraseio, o legato, o senso de estilo, tudo isso é maravilhoso. Mas, sem agudos, não existe ópera !
Si e arrivata alla nota pero calante presa per miracolo sullo spartito c' e scritta quindi si deve fare lei e sempre stata calante negli acuti purtroppo e cosi sopratutto i do ma anche i si bemolli
Everyone on earth waits for the high C. No high C. She shouldn't have sung this role.
"churlish", yes indeed, so why did you have to write it then? Oh Buddha these besserwisser!! :((
Siempre chilló los agudos.
Forse quel giorno non stava molto bene...la voce è fragile è tutto corpo, fisico, energia non è un pianoforte !
Malgré un beau timbre de voix ,Tebaldi fait une très mauvaise démonstration de cet air du Nil en ratant non seulement le contre Ut ,mais aussi tous les aigus qui suivent jusqu'à la fin de l'air !
Callas aurait été injuriée pour bien moins ça par le public .
Tebaldi,grandissima voce.Ma la Callas era più spirituale e quindi più magnetica.
6:04 desperately trying to will her voice to loosen oh poor thing...
Indeed. What a century voice but what a bad technique. The voice was damaged after few years and the fight with the top was getting more and more hard. Here she stopped acting completely, she was getting just cramped totally and fearful to reach this nearly impossible note and with a last hopeless view and fast pray to heaven... but, no chance. Its sad to watch. And not the accident of a single evening.
@@Sir.Larselot that was very 😢 💁😢😢😢 Arnold Bourbon Amaral
@@Sir.Larselot This is the only document exits where her C in O patria mia is not well sung.There are four Ghena Dimitrova Aidas, Spain 1982, Paris 1984, La Scala 1985 and Petruzelli 1987 and she loses the C in the four performances. there are audio documents of Anita Cerquetti when she was in her twenties in her very short career with missed Cs and Bs and false notes etc. There are documents of Zinka Milanov failed Cs and Bs, ofCaballé and so many other sopranos. BUT Tebaldi is the most hated soprano by the half of opera lovers because they are Callas fans, that' simple. Tebaldi has not more failed high notes in her documented discography "live" than the other sopranos,
@@ginopietracupa4305 Believe, whatever you want. Of course it's very human and not a disaster to fail a single high note because we are human and not a robot. Tebaldi was well known for her difficulties and fight with the top, you can read it in every book about opera. If you don't want to accept this, it's okay. I'm totally tired to discuss with hardcore fans about their idols and their tryings to force other people to adopt their opinions. Kind regards :)
@@Sir.Larselot I ask you a question, do you reason or are you irrational? You don't know how to listen to the recordings instead of repeating what the Callas fans say? The opera books are written by Callas fans, because Maria Callas is the biggest bluff in history and who is the singer that is ANTI Callas? Tebaldi. So the boycott against Tebaldi is total, the recordings show that Tebaldi had the most beautiful Bflat, B and C of all the lyric-dramatic sopranos (along with Birgit Nilsson).
Ghena Dimitrova, Maria Callas, Maria Caniglia, Anita Cerquetti and more, they all have uglier high notes than Tebaldi , There are the recordings as a testimony of what I say
Sorry, nowhere near the best. Bless Tebaldi, her voice is just too "short" for Aida. That top C is unfortunate. She is a lovely artist, just not enough voice for this role.
Her voice was short because she didn't have the technique at the top. She sings the C at the beginning of her career but by this point, her lack of technique begins to show.
+mariano barbieri do you know when Dimitrova started her career ? not in 1982....
Tebaldi's instrument was absolutely massive. She more than made up for it
She wasnt at the top of her career in this recording but she is simply atonishing besides for the time the characterization was also very nice and her acting very expresive the only other Aída for me is Leontyne Price
Absurd. You should be sorry for posting such an idiotic remark.
Fallendo il do ha tentato poi di esagerare ogni espressione per distrarre l'attenzione
Very good voice, but unfortunately very bad technique
Unfortunately you have a very bad brain and no knowledge about singing.