@@道-p2e Yes, that coming from the great American soprano Aprile Millo , this is her own site on you tube, the real and great soprano "Millo" not someone just using her name! BTW I heard Millo sing in house, she had at that time a great sensational old school Italian sound and voice.
Het plezier van te kunnen zingen,enthousiasme,de authenticiteit,de ongelooflijke stemmen maken van dit alles een stukje geschiedenis dat we de dag van vandaag niet altijd meer ervaren…….
divini entrambi ! queste erano delle voci liriche Vere . addio bel passato per sempre addio ! P.S. gli ''esperti'' e gli ''saccenti'' da anni dicono spesso che La Tebaldi aveva un registro acuto poco convincente... questa registrazione e' la prova qual'era la voce delLa Tebaldi . e dal vivo la sua voce era ancora più bella, Enorme ! il vecchio
@@shicoff1398 Mi dispiace purtroppo non parlo l’inglese , ma capisco benissimo quello che Lei scrive. Apprezzo molto i suoi commenti. Le mie informazioni le avevo degli anni 58-60 dai miei amici e la mia maestra quali erano le voci dall’inizio del 900 … Nicola
This is electrifying and thrilling! I love Tucker's sound God the man could sing and Tebaldi was a fantastic singing/actress no matter what anyone says, she gave it all to you through her vocals! I listened to many younger artist do this and this rendition was just untouchable !
I heard Tebaldi sing in Andrea Chenier 9 times at the Met in 1970. She was partnered by Tucker, Bergonzi and Domingo. The voice was in serious decline by then but what exciting evenings! Sometimes she would end La Mamma Morta an octave up as the low note sometimes became gargled. I recall one performance late in the run when it was announced before the fourth act that Madame Tebaldi was indisposed but would complete the performance. She then came out and sang the best final duet of the run! Poor Renata was consumed by nerves. I recall hearing her in Philadelphia a year or so later singing Desdemona. She was so relaxed and sang so much better than I had been hearing her at the Met.
+SHICOFF1 Ah! You heard her in her glory days! By 1970, the voice was the big, steely voice she came back with after the vocal crises of the early 60's. I will never forget her Fanciullas at the Met. I saw all 5 including the broadcast. She threw all the cards up into the air at the end of Act 2. And in the 3rd act, she was led on astride what looked like a pony. Recalling the end of act 1 still gives me goose bumps. And I can't forget her entrance on the balcony of the Polka Saloon shooting a pistol into the air! The audience always went wild. During curtain calls, she would fan the gun at the audience. So many memories of beautiful Renata.
Tebaldi in the early 60s had an irritation on her vocal cord. She was advised by Dr. Nigro to stop singing, whispering, humming-no use of the voice at all for 6months rather than have surgery. That is enough to be careful and concerned about the usage of her voice. I had the same problem in 1969 and Dr. Nigro advised no usage of the voice. It is a horror, I had to communicate by writing everything on a pad. WHAT A TRAUMA! PHILIP TROPEA TENOR
@@shicoff1398 Here they are both like plugging in electrically powered powerhouses... so magnificent... glorious days certainly, no more, and long ago...
What a joy to hear these two together. Tucker I believe hd one of the best vocal techniques of the operatic world. Tebaldi - what can one say except God or Ma Nature blessed her vocal folds and gave us the joys of hearing one of the most beautiful sounds to come out of any human being. We did hv a golden age of opera in the 50's and 60's: Just think Callas, Sutherland, Sills, Tebaldi Merrett, Bumbry, and the list goes on -- the men Tucker, Bjorling, Corelli, Konya, and so many ore. There are some today in that category, and others just routine.
I have seen both in house as far back as the Late 1950's, and can tell you that these two Big rich voices have no match today, as Tebaldi said in the 1960's Tucker had "roses in his throat". They liked and respected each other on and off the stage. RIP.
I listen a lot to Met Opera Radio on Sirius/XM and am constantly amazed at the quality of singing from the 50's and 60's. The singing was so passionate and exciting, and the audience response was often frenzied. It's all gone now and I don't hold out much hope that it will ever return, not with guys like Gelb in charge. I cry when I listen to this performance by Tucker & Tebaldi, not just because of its brilliance, but because it makes me realize what we have lost and cannot get back.
Both voices are fearless in attack . One imagines this is what it should be like - driving the audience to frenzy. Not at lot of that these days. Thanks for this amazing upload.
RICHARD TUCKER y RENATA TEBALDI conforman otro grandioso Dueto de Amor, el mismo que diversas parejas de grandes solistas han igualmente interpretado con absoluta maestría y con un profesionalismo sin límites. Este dueto marca el cierre impetuoso de la Opera ANDREA CHENIER, original del gran compositor italiano Umberto Giordano y basada en textos sobre episodios reales de la Revolución Francesa, aunque los hechos narrados y los nombres sean realmente ficticios. La magnificencia de las dos voces, la fuerza expresiva de la música, junto con el vigoroso respaldo de los timbales y de los redoblantes en los pasajes más intensos de este cuadro final, hacen de este cierre uno de los más grandiosos jamás escritos en el catálogo de dramas históricos tipificados en las notas vibrantes y arrolladoras de este final.
@@shicoff1398 Even at that time, it is a instant sold out to have these 2 on the cast, plus Baritone, Ettore Bastianini. Dreaming they may reconstruct something half as good in next few years.
@@道-p2e You see right below this, Aprile Millo used her own name and complimented them both, (Tucker and Tebaldi) 11 years ago! I know her, heard her, have met her and like her, and she is a fan of both Tebaldi and Tucker, in fact Tebaldi did mentor her!
@@shicoff1398 Yes. I did see it and liked it. Love her words, jump up, authentic glorious!!! I also like other people's word: "here is the real great couple of Old Met..." Older is indeed better, much much so, not good old days but superior and maybe pinnacle of operatic era ever...
Che splendore!!!!!! Voci divine, le vere voci del periodo d'oro, dove non c'erano i social e gli influencer che dicono di saltellare tutti ammucchiati a bracvia levate tutto uno scemenzaio e nulla più. Le emozioni che ci hanno regalato questi grandi artisti lirici, non le proveremo più, consoliamoci con queste testimonianze di vera arte.
@@shicoff1398 I think everyone knows, those who talk down the great singers, are biased and on purpose, they only want specific singers of certain region or type... Please ignore them all. Past friday, PBS Great Performance of Met showed special beach concert of Robert A. and another french soprano... included his "signature" of Romeo aria. It is so horrible but I put that program on DVR, so it is a regret that I skipped through the show, it is a beautiful hill top overlooking beach setup though!!! Met's first show was for Renee Fleming, the second was on Jonas Kaufmann, "most famous opera tenor in the world", so cloudy and woofy... a far cry from Master Tucker. Too far.
@@道-p2e Yes, they really are stupid if they think not one critic knows as much as they do, and often they don't ever name their favorite singer, so they push another down and occasionally will mention so and so above all others, pushing a favorite up--- also they ignore other Italian singers who sang with these people and only care about their own opinion, even if they never saw the singer, being too young, while I was at the opera in the 1950's, of all the dumb ass remarks is studio sound is just as accurate as live! Bullshit, not always for heft, as dials can be turned up but you get an idea of the artist on a recording, they ignore of course two different record companies hiring some singers for more then just one complete opera, singing as an example Shicoff, he was used to record Eugene Onegin twice, both by two different labels, one was the German label Deutsche Gramophon in 1988 and both where not many years apart, and with different casts. Tucker recorded Forza and Butterfly twice, both complete recordings with both RCA and EMI Columbia. MDM Rec. Pagliacci twice, Bjoerling rec. Cav. twice, both with RCA, those not knowing Tucker did well in Italian for a non Italian are wrong and making shit up.
Tebaldi and Tucker sang many operas together and were also on sixties tv performances. They were doing La fora del destino on the tragic March 4 1960 when after singing the duet with Tucker and the aria Urna Fatale Leonard Warren had his fatal heary attack after they finished the third act and the opera season was cancelled.
This was from a gala performance in Chicago. Tebaldi, Simionato, Tucker and Bastianini. Tebaldi sang Tatiana’s letter scene in Italian (gorgeous!!) and also the Gioconda duet with Simionato. Many selections from this Gala were released on a London LP, but Tucker was Columbia artist so he was not included. This transfer is playing almost a half tone too high. THESE TWO GREAT SINGERS DID NOT SOUND LIKE THIS. Playing this recording back at the incorrect speed has “thinned out” their voices. It’s a shame, because this truly is the greatest performance of this duet.
Yes and so did Tebaldi, she called Tucker "Mr. Terrific" as seen in her English speaking TV interview on you tube. The host Boris G. asked her why she called him that and her answer was "Because he was!"
Tucker on that last High B was never eclipsed by anyone he sang with. Tebaldi loved singing with him and she was his favorite Soprano at the time they where singing together often, in fact she in a 1962 Time magazine article she said, he was more Italian then some Italians and also she said "He had roses in his throat" From a totally different back round, Tucker a Brooklyn NY. born Jewish Cantor and Tebaldi 100% Italian in every respect, they where two of the best in their prime years, which where many and yet because of different record company contracts, they did not studio record together, but did sing often together in the opera houses in many cities. RIP. Tebaldi and Tucker.
..sadly modern singers are faded shells compared the the giants of yesteryear.....at least their voices remain. What was did not continue, but we still have them vocally. The Golden Age passed us by, and many of us thought it might never leave, but it did.
@operafan64 There isn't a single singer anywhere today that could match either Tucker or Tebaldi here. Those who do have the talent and voices to sing opera are probably plumbers or sewer workers and don't even know it since there is zero exposure to opera for the general public like there was on radio and TV years ago.
@VinylToVideo Exactly! And that is where the problem lies today. Leadership values the singer's looks more than his or her voice, so we get one overhyped "star" after another, all with movie star looks and (mostly) mediocre voices. And leadership doesn't care; if they can hype someone as a great singer they will, even if he or she isn't. And the audiences seem to go right along with it, applauding and cheering one dull performance after another.
Dear colleagues! What was the date of this performance? In Tebaldi chronology is mentioned only one Chenier with Tucker in 1956 (Met, NY Jan 2, 14 1956). Yours, Alexandre.
She sang another Met. run with Tucker and a Brdcst. besides the 1956 Met. brdcst. in that run, it was 1960 and of course this was Chicago Lyric opera, Nov. 1956, not NY.
I believe there may be great voices out there, but they will never be heard because opera today is about everything else but the voice - good looks, weird stagings, strange new productions, etc. Back in the golden age, you could get 3 or 4 all time greats in a single opera, multiple times a week! Even the 2nd tier of singers were better than most of today's "stars." Looking at the Met's current roster, there aren't 4 singers of that caliber on the entire roster! I don't think there is even one.
Don;t you want to jump up and add your voice to the cheering? I do. Splendid and authentic GLORIOUS singing.
Brava Renata, Bravo Richard. Amazing.
I love your words, "authentic", "glorious"... so so true. None to be found to cheer and jump up for at today's operatic houses...
@@道-p2e Yes, that coming from the great American soprano Aprile Millo , this is her own site on you tube, the real and great soprano "Millo" not someone just using her name! BTW I heard Millo sing in house, she had at that time a great sensational old school Italian sound and voice.
@@shicoff1398 Wow, I totally did not know that ! Amazing experience again, I will visit her site.
@@道-p2e yes, you know Tebaldi was her mentor and friend.
Lucky, lucky, lucky people!
Het plezier van te kunnen zingen,enthousiasme,de authenticiteit,de ongelooflijke stemmen maken van dit alles een stukje geschiedenis dat we de dag van vandaag niet altijd meer ervaren…….
This is as great as it got!!! Bravi to both Tebaldi and Tucker for their absolute golden age singing.
I just love Tucker's voice, he always seems to sing with such passion. Tebaldi is great. They both are so committed to their art here. Love it.
Both electrifying! Brava Renata! Bravo Tucker!
Agreed!
This is a marvelous rendition of a most difficult duet. Both Tebaldi & Tucker are in splendid voice.
RIP. Richard Tucker August 28, 1913--- Jan. 8th, 1975--- The great artist and powerful Spinto tenor!
Bravissimi!! Tebaldi and Tucker in great performance!! Fantastic interpretation!!
One of the best renditions ever.
If ever there was a golden era,Richard Tucker and Renata Tebaldi were its champions! Magnifico!!
divini entrambi !
queste erano delle voci liriche Vere .
addio bel passato per sempre addio !
P.S.
gli ''esperti'' e gli ''saccenti'' da anni dicono spesso che La Tebaldi aveva un registro acuto poco convincente...
questa registrazione e' la prova qual'era la voce delLa Tebaldi .
e dal vivo la sua voce era ancora più bella, Enorme !
il vecchio
Please, can you write in English?
@@shicoff1398
Mi dispiace purtroppo non parlo l’inglese , ma capisco benissimo quello che Lei scrive.
Apprezzo molto i suoi commenti.
Le mie informazioni le avevo degli anni 58-60 dai miei amici e la mia maestra quali erano le voci dall’inizio del 900 …
Nicola
OK, Thank You. @@bodiloto
This is electrifying and thrilling! I love Tucker's sound God the man could sing and Tebaldi was a fantastic singing/actress no matter what anyone says, she gave it all to you through her vocals! I listened to many younger artist do this and this rendition was just untouchable !
Two magnificent singers! Superb!
Two of the greatest of all time joined together in beautiful music!
I heard Tebaldi sing in Andrea Chenier 9 times at the Met in 1970. She was partnered by Tucker, Bergonzi and Domingo. The voice was in serious decline by then but what exciting evenings! Sometimes she would end La Mamma Morta an octave up as the low note sometimes became gargled. I recall one performance late in the run when it was announced before the fourth act that Madame Tebaldi was indisposed but would complete the performance. She then came out and sang the best final duet of the run! Poor Renata was consumed by nerves. I recall hearing her in Philadelphia a year or so later singing Desdemona. She was so relaxed and sang so much better than I had been hearing her at the Met.
+SHICOFF1 Ah! You heard her in her glory days! By 1970, the voice was the big, steely voice she came back with after the vocal crises of the early 60's. I will never forget her Fanciullas at the Met. I saw all 5 including the broadcast. She threw all the cards up into the air at the end of Act 2. And in the 3rd act, she was led on astride what looked like a pony. Recalling the end of act 1 still gives me goose bumps. And I can't forget her entrance on the balcony of the Polka Saloon shooting a pistol into the air! The audience always went wild. During curtain calls, she would fan the gun at the audience. So many memories of beautiful Renata.
Tebaldi in the early 60s had an irritation on her vocal cord. She was advised by Dr. Nigro to stop singing, whispering, humming-no use of the voice at all for 6months rather than have surgery. That is enough to be careful and concerned about the usage of her voice. I had the same problem in 1969 and Dr. Nigro advised no usage of the voice. It is a horror, I had to communicate by writing everything on a pad. WHAT A TRAUMA! PHILIP TROPEA TENOR
Please please share more of these memories of Tebaldi!
@@frankioele1884 Yes I was lucky, and saw her at her best which was magnificent , a rich beautiful voice!
@@shicoff1398 Here they are both like plugging in electrically powered powerhouses... so magnificent... glorious days certainly, no more, and long ago...
What a joy to hear these two together. Tucker I believe hd one of the best vocal techniques of the operatic world. Tebaldi - what can one say except God or Ma Nature blessed her vocal folds and gave us the joys of hearing one of the most beautiful sounds to come out of any human being. We did hv a golden age of opera in the 50's and 60's: Just think Callas, Sutherland, Sills, Tebaldi Merrett, Bumbry, and the list goes on -- the men Tucker, Bjorling, Corelli, Konya, and so many ore. There are some today in that category, and others just routine.
Spectacular!
La voz de ángel junto al mejor tenor americano de todos los tiempos. Sencillamente fenomenal.
Fearsome stability and attack from both.
I have seen both in house as far back as the Late 1950's, and can tell you that these two Big rich voices have no match today, as Tebaldi said in the 1960's Tucker had "roses in his throat". They liked and respected each other on and off the stage. RIP.
I listen a lot to Met Opera Radio on Sirius/XM and am constantly amazed at the quality of singing from the 50's and 60's. The singing was so passionate and exciting, and the audience response was often frenzied. It's all gone now and I don't hold out much hope that it will ever return, not with guys like Gelb in charge. I cry when I listen to this performance by Tucker & Tebaldi, not just because of its brilliance, but because it makes me realize what we have lost and cannot get back.
Both voices are fearless in attack . One imagines this is what it should be like - driving the audience to frenzy. Not at lot of that these days.
Thanks for this amazing upload.
FABULOUS!! Thank you for posting this.
RICHARD TUCKER y RENATA TEBALDI conforman otro grandioso Dueto de Amor, el mismo que diversas parejas de grandes solistas han igualmente interpretado con absoluta maestría y con un profesionalismo sin límites. Este dueto marca el cierre impetuoso de la Opera ANDREA CHENIER, original del gran compositor italiano Umberto Giordano y basada en textos sobre episodios reales de la Revolución Francesa, aunque los hechos narrados y los nombres sean realmente ficticios. La magnificencia de las dos voces, la fuerza expresiva de la música, junto con el vigoroso respaldo de los timbales y de los redoblantes en los pasajes más intensos de este cuadro final, hacen de este cierre uno de los más grandiosos jamás escritos en el catálogo de dramas históricos tipificados en las notas vibrantes y arrolladoras de este final.
Perfection!!! Stunning voices are perfect for the role, glorious 1950's!
Spot on correct.
@@shicoff1398 Even at that time, it is a instant sold out to have these 2 on the cast, plus Baritone, Ettore Bastianini. Dreaming they may reconstruct something half as good in next few years.
@@道-p2e You see right below this, Aprile Millo used her own name and complimented them both, (Tucker and Tebaldi) 11 years ago! I know her, heard her, have met her and like her, and she is a fan of both Tebaldi and Tucker, in fact Tebaldi did mentor her!
@@shicoff1398 Yes. I did see it and liked it. Love her words, jump up, authentic glorious!!!
I also like other people's word: "here is the real great couple of Old Met..."
Older is indeed better, much much so, not good old days but superior and maybe pinnacle of operatic era ever...
@@道-p2e Well said!
Che splendore!!!!!! Voci divine, le vere voci del periodo d'oro, dove non c'erano i social e gli influencer che dicono di saltellare tutti ammucchiati a bracvia levate tutto uno scemenzaio e nulla più. Le emozioni che ci hanno regalato questi grandi artisti lirici, non le proveremo più, consoliamoci con queste testimonianze di vera arte.
Who would not want to sit LIVE that day! Great Performance!!!
They where two of the best at the time, that is fact and nobody can change or erase that.
@@shicoff1398 I think everyone knows, those who talk down the great singers, are biased and on purpose, they only want specific singers of certain region or type... Please ignore them all.
Past friday, PBS Great Performance of Met showed special beach concert of Robert A. and another french soprano... included his "signature" of Romeo aria. It is so horrible but I put that program on DVR, so it is a regret that I skipped through the show, it is a beautiful hill top overlooking beach setup though!!!
Met's first show was for Renee Fleming, the second was on Jonas Kaufmann, "most famous opera tenor in the world", so cloudy and woofy... a far cry from Master Tucker. Too far.
@@道-p2e Yes, they really are stupid if they think not one critic knows as much as they do, and often they don't ever name their favorite singer, so they push another down and occasionally will mention so and so above all others, pushing a favorite up--- also they ignore other Italian singers who sang with these people and only care about their own opinion, even if they never saw the singer, being too young, while I was at the opera in the 1950's, of all the dumb ass remarks is studio sound is just as accurate as live! Bullshit, not always for heft, as dials can be turned up but you get an idea of the artist on a recording, they ignore of course two different record companies hiring some singers for more then just one complete opera, singing as an example Shicoff, he was used to record Eugene Onegin twice, both by two different labels, one was the German label Deutsche Gramophon in 1988 and both where not many years apart, and with different casts. Tucker recorded Forza and Butterfly twice, both complete recordings with both RCA and EMI Columbia. MDM Rec. Pagliacci twice, Bjoerling rec. Cav. twice, both with RCA, those not knowing Tucker did well in Italian for a non Italian are wrong and making shit up.
The Chicago Civic opera house was at full capacity, 3.580+ lucky people saw and heard it.
The review of the gala concert from the top Chicago Tribune critic, Claudia Cassidy said. '' The best of the best"
Why can't we hear voices like these today?!
Today? Not possible even with many microphones...
Excelente. Tucker muy bien. Tebaldi, la voz que trasmite amor.
Agreed.
Tebaldi and Tucker sang many operas together and were also on sixties tv performances. They were doing La fora del destino on the tragic March 4 1960 when after singing the duet with Tucker and the aria Urna Fatale Leonard Warren had his fatal heary attack after they finished the third act and the opera season was cancelled.
Honestly the best version of this duet! I wish singers today are at least half as good as these two
They are gone now, but even in this older live recorded sound, we can still find it thrilling, yes in every way.
¡Excepcionales ambos!!!
thrilling
great singers from past no one today sad all gone
Fantastico Tucker!
He sure was!
Amazing!!!
This was from a gala performance in Chicago. Tebaldi, Simionato, Tucker and Bastianini. Tebaldi sang Tatiana’s letter scene in Italian (gorgeous!!) and also the Gioconda duet with Simionato. Many selections from this Gala were released on a London LP, but Tucker was Columbia artist so he was not included.
This transfer is playing almost a half tone too high. THESE TWO GREAT SINGERS DID NOT SOUND LIKE THIS. Playing this recording back at the incorrect speed has “thinned out” their voices. It’s a shame, because this truly is the greatest performance of this duet.
There is now another post of it at the right speed.
Entusiasmanti!
BRAVOOOO!!!!!!!!!!!!!!!!
My God! She could obliterate anyone! I love Tucker, too. Of course.
Yes and so did Tebaldi, she called Tucker "Mr. Terrific" as seen in her English speaking TV interview on you tube. The host Boris G. asked her why she called him that and her answer was "Because he was!"
Tucker on that last High B was never eclipsed by anyone he sang with. Tebaldi loved singing with him and she was his favorite Soprano at the time they where singing together often, in fact she in a 1962 Time magazine article she said, he was more Italian then some Italians and also she said "He had roses in his throat" From a totally different back round, Tucker a Brooklyn NY. born Jewish Cantor and Tebaldi 100% Italian in every respect, they where two of the best in their prime years, which where many and yet because of different record company contracts, they did not studio record together, but did sing often together in the opera houses in many cities. RIP. Tebaldi and Tucker.
..sadly modern singers are faded shells compared the the giants of yesteryear.....at least their voices remain. What was did not continue, but we still have them vocally. The Golden Age passed us by, and many of us thought it might never leave, but it did.
¡GIANTS!
This is opera !
@operafan64 There isn't a single singer anywhere today that could match either Tucker or Tebaldi here. Those who do have the talent and voices to sing opera are probably plumbers or sewer workers and don't even know it since there is zero exposure to opera for the general public like there was on radio and TV years ago.
Who conducted this, Solti or Emerson Buckley? Supposedly Buckley conducted Tucker's selections and Solti conducted everything else.
@topmeat69 Leadership decides which voices get to be heard.
@operafan64 Agreed!
@VinylToVideo Exactly! And that is where the problem lies today. Leadership values the singer's looks more than his or her voice, so we get one overhyped "star" after another, all with movie star looks and (mostly) mediocre voices. And leadership doesn't care; if they can hype someone as a great singer they will, even if he or she isn't. And the audiences seem to go right along with it, applauding and cheering one dull performance after another.
Dear colleagues!
What was the date of this performance? In Tebaldi chronology is mentioned only one Chenier with Tucker in 1956 (Met, NY Jan 2, 14 1956).
Yours, Alexandre.
She sang another Met. run with Tucker and a Brdcst. besides the 1956 Met. brdcst. in that run, it was 1960 and of course this was Chicago Lyric opera, Nov. 1956, not NY.
@topmeat69 Incompetent leadership since 1950 has made sure they haven't. Too bad Richard Bonelli didn't get Bing's job.
I believe there may be great voices out there, but they will never be heard because opera today is about everything else but the voice - good looks, weird stagings, strange new productions, etc. Back in the golden age, you could get 3 or 4 all time greats in a single opera, multiple times a week! Even the 2nd tier of singers were better than most of today's "stars." Looking at the Met's current roster, there aren't 4 singers of that caliber on the entire roster! I don't think there is even one.
Those were the days od voices, today we have fish peddlers from the east
But the Opera Queens are still alive and well!