I heard the majority of wonderful sopranos live but for me Tebaldi towers above all. The most exquisite voice in every way. From the softest piano to thunderous forte she engulfed you with her truly miraculous voice and artistry.
That was Magnificent!!! You rarely hear such passion in singing in todays' operas!! I cannot remember ever hearing a Tebaldi rendition of an aria that I did not love! She is greatly missed!!!
This is Opera, true dramatic singing. With piercing high notes and resonant lows. She even has complete mastery over her dynamics. The perfect spinto soprano.
Unbeatable!. The great historical sopranos are identified for being the references in some role. For me, Renata Tebaldi is synonymous with Leonora de Vargas, Desdemona, Aïda, Magdalena di Cogny, Mimì, Tosca, Manon Lescaut and Butterfly. In these roles Tebaldi represented everything that the respective composers could dream of. Thank you very much!
Tebaldi at her very very best which is as much as saying stunning!!. Everything about this is pure italianita so often missed in the American sopranos.
Missed less in american sopranos , but more in Italian sopranos today....there is no longer a feeling for this : what a soprano makes a soprano. Same for tenors.
Indeed she was a force of nature in this rendition. The sound is glorious and the diction magnificent, yet the phrasing is so spontaneous that one is moved to tears.
I am simply staggered by her voice in every respect throughout her range. From subtle softness to full on power. Never harsh or forced. The sound simply flows from her voice and surrounds my heart and soul.
Unbelievably powerful and beautiful. Have listened to them all and Tebaldi's interpretations are by far the best. How interesting that it is very difficult to find any recent performances by other artists. Just shows the death of the Spinto voices in opera. We need more Tebaldis, Prices, Callas', etc
A wall of sound - Anna Moffo said when she heard Tebaldi in La Forza she taught that she was going to die. The biggest voice. Her singing has no weakness. Power, Power and Power.
Un giorno la Nilsson disse: chi non ha ascoltato Renata Tebaldi dal vivo è come se non l'avesse mai ascoltata, il volume monumentale della sua voce non riusciva ad essere registrato bene dai microfoni dell'epoca! Risultato nelle registrazioni gli acuti rendono molto meno che dal vivo. In questa registrazione si percepisce benissimo come nelle note centrali il volume vocale (sembri) maggiore che negli acuti. I microfoni non hanno immortalato le risonanze armoniche degli acuti! Peccato
This was Tebaldi's first staged performance of "Forza del destino. She just learned the role and was trying it out for the first time. I'd say she succeeded beautifully. Florence, summer of 1953.
La Scala ‘55 Forza w/Tebaldi is the pinnacle performance of this role. Nothing, no one comes close, not even the transcendental ‘53 Tebaldi with Mitropoulos.
great, it's a pleasure to have another opera lover who has such a deep knowledge and understanding, I should confess this very recording changed my view about Tebaldi very positively, this and the de Sabata live recorded Verdi Requiem Libera me astonishing or I can not have words to describe I have the CD of the Aida Callas in Mexico it is a divine but what would be the unrecorded previous one, viva la opera, greetings
So benissimo che specie negli ultimi anni della carriera la Tebaldi non aveva i sovracuti facili. Io mi riferivo a questa registrazione dove gli acuti sono una cosa strabiliante per potenza e ricchezza di armoniche. Evito paragoni con le "colleghe" dell'epoca della Tebaldi perchè non è mia abitudine! Ascolti altre cantanti in questa specifica aria se ne renderà conto. Saluti
@hipouracanadogrito In THIS music, Tebaldi is magnificent, and yes, I'd say that she surpasses Callas in this role for sure. But if you are implying that Tebaldi "far surpassed" Callas overall, I would vehemently disagree with you. Callas left an imprint on opera that has been equaled by none. However, to dismiss Tebaldi as an "also-ran" is also stupid. Both were in their absolute primes during the same period. We shall never encounter their likes again. We should be so fortunate today!
sorry I accidently removed your previous comment in stead of replying to it.. thank you for your feedback. Yes Callas is superb in these two roles you mention, unsurpassed in face, like Tebaldi here.
@callastoujours - Thanks for your validation. I've never understood why Callas and Tebaldi were compared with one another. Callas was a restorer of the dramatic elements of bel canto while Tebaldi was pretty much rooted in the repertoire of the late 19th and early 20th century. Tebaldi had gorgeous tone, but Callas painted her singing with so many colors and shades, and covered a much wider repertoire. Why boost one at the expense of the other???? We shall not see their like again.
Her Leonora is perfection. I think it might very well be her best role. I think she's great in Puccini too of course. But from a purely characterization standpoint, I do think that she sometimes comes across a bit too mature in some of those roles (Mimi especially), and she ends up doing that dolcezza-pianissimi effect thing, particularly in the late '50s onwards. In these Verdi roles, she just sings out.
![[Sub Thai] APT. - ROSÉ & Bruno Mars](http://i.ytimg.com/vi/bYjhzP8x_uc/mqdefault.jpg)
Aquí La Tebaldi es la perfección👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻
I heard the majority of wonderful sopranos live but for me Tebaldi towers above all. The most exquisite voice in every way. From the softest piano to thunderous forte she engulfed you with her truly miraculous voice and artistry.
Can you imagine being in the theater that night and hearing that sound fill the theater?
Oh well, yes! But we can only dream as there is nobody today coming even remotely close to that glorious sound!
merveille , sa voix me transporte ds une autre dimension , sublime interprètation, la +belle de ttes ..
C'est incroyable cette voix celeste - puissante et riche - large -
Elle est magnifique, incomparable.
That was Magnificent!!! You rarely hear such passion in singing in todays' operas!! I cannot remember ever hearing a Tebaldi rendition of an aria that I did not love! She is greatly missed!!!
Inarrivabile... Meravigliosa... Maestosa...
The biggest voice ever.
Great interpretation.
J'ai des frissons - incroyable la puissance vocale.
This is Opera, true dramatic singing. With piercing high notes and resonant lows. She even has complete mastery over her dynamics. The perfect spinto soprano.
Monumental... sublime... breathtaking... truly beyond words.
Brava! Absolument encroyable. Tour de force. Wow!
Hers is the perfect blend of squillo and roundness or better said a perfectly round voice with wonderful squillo
Unbeatable!. The great historical sopranos are identified for being the references in some role. For me, Renata Tebaldi is synonymous with Leonora de Vargas, Desdemona, Aïda, Magdalena di Cogny, Mimì, Tosca, Manon Lescaut and Butterfly. In these roles Tebaldi represented everything that the respective composers could dream of. Thank you very much!
this 1955 forza performance dare i say is the best recording ever, leontyne price is one of the more supreme leonoras but this here is gold
Tebaldi at her very very best which is as much as saying stunning!!. Everything about this is pure italianita so often missed in the American sopranos.
Missed less in american sopranos , but more in Italian sopranos today....there is no longer a feeling for this : what a soprano makes a soprano. Same for tenors.
Indeed she was a force of nature in this rendition. The sound is glorious and the diction magnificent, yet the phrasing is so spontaneous that one is moved to tears.
I am simply staggered by her voice in every respect throughout her range. From subtle softness to full on power. Never harsh or forced. The sound simply flows from her voice and surrounds my heart and soul.
I agree that this is a great performance and the sound is excellent. The 1953 performance conducted by Mitropoulos is equally fine. Brava Renata!
What a voice! What a power and great singing! It's amazing! Thank you for sharing this video.
Unbelievably powerful and beautiful. Have listened to them all and Tebaldi's interpretations are by far the best. How interesting that it is very difficult to find any recent performances by other artists. Just shows the death of the Spinto voices in opera. We need more Tebaldis, Prices, Callas', etc
try with Ghena Dimitrova
A wall of sound - Anna Moffo said when she heard Tebaldi in La Forza she taught
that she was going to die. The biggest voice. Her singing has no weakness.
Power, Power and Power.
This is my favorite recording of Tebaldi and my favorite version of this aria.
Powerful, very moving. Another gem from the golden days of opera. Tebaldi is commanding as ever and on fine vocal form.
magnificent
Brava La Tebaldi
La nostra regina - per sempre!!!!
Un giorno la Nilsson disse: chi non ha ascoltato Renata Tebaldi dal vivo è come se non l'avesse mai ascoltata, il volume monumentale della sua voce non riusciva ad essere registrato bene dai microfoni dell'epoca! Risultato nelle registrazioni gli acuti rendono molto meno che dal vivo. In questa registrazione si percepisce benissimo come nelle note centrali il volume vocale (sembri) maggiore che negli acuti. I microfoni non hanno immortalato le risonanze armoniche degli acuti! Peccato
A wall of sound, glorious.
As per Richard Bonynge she had a glorious sound.
love the rapturous applause. The La Scala crowd always knew good from 'eh!'
This was Tebaldi's first staged performance of "Forza del destino. She just learned the role and was trying it out for the first time. I'd say she succeeded beautifully. Florence, summer of 1953.
This is what GREAT singing is all about.
Un miracolo!!!!
RENATA TEBALDI ES LA "LEONORA" DE LA FORZA DEL DESTINO, POR ANTONOMASIA , ES ÚNICA Y SUPREMA EN ESTE ROL. Armando Cerutti - Barítono
l'amo infinitamente
It's impossible not to cry, a bright angel sang for us! Listen from 3:53 to 4:56.. Peerless!
La Scala ‘55 Forza w/Tebaldi is the pinnacle performance of this role. Nothing, no one comes close, not even the transcendental ‘53 Tebaldi with Mitropoulos.
Masterfully done.
great, it's a pleasure to have another opera lover who has such a deep knowledge and understanding, I should confess this very recording changed my view about Tebaldi very positively, this and the de Sabata live recorded Verdi Requiem Libera me astonishing or I can not have words to describe I have the CD of the Aida Callas in Mexico it is a divine but what would be the unrecorded previous one, viva la opera, greetings
La Divine, tout simplement.
Magnifica!
Unbelievably good stuff
Qué buena aria y Renata con
su voz maravillosa
maravillosa
So benissimo che specie negli ultimi anni della carriera la Tebaldi non aveva i sovracuti facili. Io mi riferivo a questa registrazione dove gli acuti sono una cosa strabiliante per potenza e ricchezza di armoniche. Evito paragoni con le "colleghe" dell'epoca della Tebaldi perchè non è mia abitudine! Ascolti altre cantanti in questa specifica aria se ne renderà conto.
Saluti
@hipouracanadogrito In THIS music, Tebaldi is magnificent, and yes, I'd say that she surpasses Callas in this role for sure. But if you are implying that Tebaldi "far surpassed" Callas overall, I would vehemently disagree with you. Callas left an imprint on opera that has been equaled by none. However, to dismiss Tebaldi as an "also-ran" is also stupid. Both were in their absolute primes during the same period. We shall never encounter their likes again. We should be so fortunate today!
this performance FAR SURPASSED all performances of the same piece by any singer past and present
Dopo tanti tentati assieme ad un gruppo di amici eravamo riusciti a prenotare una recita della forza del destino con la Tebaldi. Aprile 1955.
sorry I accidently removed your previous comment in stead of replying to it.. thank you for your feedback. Yes Callas is superb in these two roles you mention, unsurpassed in face, like Tebaldi here.
Non penso si possa fare di meglio....
Anch'io!
@callastoujours - Thanks for your validation. I've never understood why Callas and Tebaldi were compared with one another. Callas was a restorer of the dramatic elements of bel canto while Tebaldi was pretty much rooted in the repertoire of the late 19th and early 20th century. Tebaldi had gorgeous tone, but Callas painted her singing with so many colors and shades, and covered a much wider repertoire. Why boost one at the expense of the other???? We shall not see their like again.
BRRRAVA!!!
Her Leonora is perfection. I think it might very well be her best role. I think she's great in Puccini too of course. But from a purely characterization standpoint, I do think that she sometimes comes across a bit too mature in some of those roles (Mimi especially), and she ends up doing that dolcezza-pianissimi effect thing, particularly in the late '50s onwards. In these Verdi roles, she just sings out.
@Zva26 I agree 100% with you!!!
Non è vero, Mrmirko. Il registro centrale era il forte della gran Tebaldi. Non gli acuti, che non venivano tanto facili.