Milanov was at her very best here, maybe it was Toscanini’s influence ! This was before the war ! No one has ever sung this with such beauty as she did!
There is surviving copy of Verdi’s Requiem score with her and Toscanini’s instrucions inside which she used for this performance. I have it in PDF, if you are interested.
Again the controversial comparison of two divas: Milanov and Tebaldi. I ask: why do the anti-Milanov gang waste their time to click this page and criticize her? Do they own the ultimate judgement of voices? They sound like Nazis: "YOU ARE WRONG, I AM RIGHT" period. No way! I like both singers: opulent and beautiful instruments. (Milanov=pure dramatic; Tebaldi=Lyric Spinto), beautiful pianissimo, poor agility though. It's a matter of taste, nothing else. Enjoy Milanov at her peak and let her admirers dream with the sounds her throat produced for 39 years. In La Gioconda 1957 with Gianni Poggi her high C was still there gloriously.
Stunning. It's a pity that she didn't do more studio recordings doing this part of her career. I do think that she had changed her approach somewhat by the time the rush to make LPs in the late 40s and 50s began. Still great, but somewhat compromised. Maybe it was the menopause thing that Chista Ludwig talked about. I would agree with the Tebaldi cult (and maybe the Callas cult) that Milanov disengaged from the bottom somewhat, if only they didn't push their analyses to absolutely absurd extremes.
In the late 1940s and by the 1950s Milanov's voice had darkened and lowered a bit. I wouldn't call it necessarily "compromised" -- she lost some of her facility in the upper reaches but gained in richness of timbre and beauty of tone elsewhere; recordings of hers from the 1950s -- both studio recordings and live ones -- attest to this. She wasn't very fond of doing studio recordings, by the way -- it was a process that made her nervous, though in the end she did make some very fine ones.
@@galanis38 I understand what you are saying. I do think she changed her technical approach a bit during her hiatus from the Met for whatever reason, and that the shifts in her sound were not just a product of aging. For instance, she also started placing more at the bottom and bringing the head voice down in a sort of stuffy way, rather than singing clearly in the chest. Still great singing though.
Yes Tebaldi get it better than t his, much better. First of all: Milanov can do little next to Tebaldi timbre, 2nd) Tebaldi 's whole voice is better on bottom, middle and top, 3) in legato and in dynamic is much better too, 4) in phrasing is totally superior ruclips.net/video/6JmBGQVFfV4/видео.html
1. I prefer Milanov's timbre. It's subjective category after all. 2. Tebaldi oftentimes had problematic top, especially later in the career, even Zinka had occasional problems with high C, but Tebaldi was fragile and sometimes completely flat on high B as well (those in Gioconda pop to my mind) This rendition is beautiful, but, at least to my ears, her piano never had ringing quality of Milanov's. I agree though that she had better middle register. 3. Um, Milanov was just better in legato, wonder why Tebaldi could never sing Il Trovatore or Norma? Legato it is. 4. Tebaldi's phrasing is better, she was Italian after all.
@@equinox6651 I would like to know what you mean when you say "fragile". Precisely a characteristic of Tebaldi is that she has granitic high notes, Tebaldi's high notes are massive, full bodied and colorful. Milanov's high notes are clear in color. Regarding Bs and Cs, if we do a check of live recordings, in the period 1947-1961 there are very rare events if there is any B or C of Tebaldi slightly flat, and if we do Zinka Milanov checks we will find events of flat high notes in the '40s too (not only in the' 50s), if we check recordings of Milanov's live, Anita Cerquetti, Maria Caniglia, Gina Cigna , Antonietta Stella, Elena Souliotis ecc we will find flat high notes But nobody pays attention to that, because people only repeat what the Callas fans say and the Callas fans have always sabotaged Renata Tebaldi. Regarding the legato, Milanov has no better legato than Tebaldi, also the legato is not only especially demonstrated in Il trovatore, the legato is also shown in La Forza del Destino, in Aída, in Vissi d'arte, and in many arias and operas . Regarding the timbre, I agree that each one has her own taste, for me Tebaldi has a purer voice (than Milanov) ,and placed forward, Milanov is more ingolatta. Regarding to pp in Gioconda , you are t alking of Tebaldi in 1966, yes in her "live" 1966 Giocondas there are Bflats slightly flat, but the only note in the opera (and we are talking of 1966, not in the '50s), in the rest her 66/67 Giocondas are impressive. I put a sample above of Tebaldi singing "Liberame domine" in 1950. I put it because you wrote in Milanov vice "Can it get better than this" ? You could not say anything above the audio sample I shared, you just wrote things not giving samples (only mentioning Tebaldi in 1966 events in one note).The real thing is Tebaldi high notes in this Requiem sample I shared are superior to Milanov in this 1938 broadcast
@@walteranibal8425 Tebaldi's high notes could be quite unstable from 1955 onwards. I recall O Patria Mia from 1958, she almost cracked, but so did Milanov. They both had unreliable top later in their careers, but Milanov seemed to keep her high B's very secure, even in the '60. It's a known fact that no one could tackle Milanov's piani, except for Caballe. Tebaldi had magnificient middle and beautiful piano, bit not in the same league with Milanov/Caballe. For me, Norma is a synonim for legato, Milanov did decent Norma, Tebaldi was smart enough not to tackle it. Well, I was reffering to the recording you posted, I think it's splendid, but I still prefer Zinka, even though Tebaldi's recording has much better quality.
@@equinox6651 There are several innacurances in your answer: Tebaldi in her Paris 1959 O patria mia, yes the note is not well sung, but she does not crack, as she notices her troath is closing she cuts the note quickly. Why you can say Tebaldi high notes could be unstable being only one document of Tebaldi not singing well the C in O patria mia ? and we have for example three Ghena Dimitrova Aidas where she misses the C in the three consecutive performances, Spain 1982, Paris 1984 and La Scala 1985, and others sopranos who have accidents in that note (but you says Tebaldi and not the others). There are Milanov flat Cs in the '40s and many Bflats not well sung by Milanov in the '50s, and you say she kept the B well always ? On the contrary there are not bad Bs and Cs of Tebaldi in the '50s. Norma is a role Milanov should have stawed away, her Norma is not good, the same for Cigna and Cerquetti. The NRO 1 Norma is Joan Sutherland. Caballe is a lyrical soprano and her high pp are all in falsetto after 1975.Tebaldi pp is not in the same league of Milanov of Caballe but is superior (I mean Tebaldi in the '50s). Another innacurate thing you said id Tebaldi could be unstable on high notes from 1955 onwards, thhat is absolutely false. Tebaldi top remained the same exactly until 1958/59, and even until 1961 she sang perfect Cs. Here you can listen Milanov in 1953 , she cannot sing well a Bflat , listen the final note of the aria ruclips.net/video/a8RZD0RbLbg/видео.html
@@equinox6651 why instead of commenting the "only one document exists of Tebaldi where the C in O patria mia is not well sung" you check Ghena Dimitrova attempting to sing a C and having a bitter accident in her attempt ? ruclips.net/video/-zvBGrHG4BU/видео.html
A voice of supreme beauty. Quality of the highest order, ethereal floating piano's, and an upper register ringing and brilliant.
God she soars like a lark...such squillo in the quietest passages! Only Tebaldi could match her divine effortless piani.
Milanov was at her very best here, maybe it was Toscanini’s influence !
This was before the war ! No one has ever sung this with such beauty as she did!
Wonderful moment & even better, IMO, than in the complete Verdi Requiem also with Toscanini from two years later in the states.
There is surviving copy of Verdi’s Requiem score with her and Toscanini’s instrucions inside which she used for this performance. I have it in PDF, if you are interested.
Please provide a link🙏🏻🙏🏻🙏🏻
Would love to study this document!
Again the controversial comparison of two divas: Milanov and Tebaldi. I ask: why do the anti-Milanov gang waste their time to click this page and criticize her? Do they own the ultimate judgement of voices? They sound like Nazis: "YOU ARE WRONG, I AM RIGHT" period. No way! I like both singers: opulent and beautiful instruments. (Milanov=pure dramatic; Tebaldi=Lyric Spinto), beautiful pianissimo, poor agility though. It's a matter of taste, nothing else. Enjoy Milanov at her peak and let her admirers dream with the sounds her throat produced for 39 years. In La Gioconda 1957 with Gianni Poggi her high C was still there gloriously.
Stunning. It's a pity that she didn't do more studio recordings doing this part of her career. I do think that she had changed her approach somewhat by the time the rush to make LPs in the late 40s and 50s began. Still great, but somewhat compromised. Maybe it was the menopause thing that Chista Ludwig talked about. I would agree with the Tebaldi cult (and maybe the Callas cult) that Milanov disengaged from the bottom somewhat, if only they didn't push their analyses to absolutely absurd extremes.
In the late 1940s and by the 1950s Milanov's voice had darkened and lowered a bit. I wouldn't call it necessarily "compromised" -- she lost some of her facility in the upper reaches but gained in richness of timbre and beauty of tone elsewhere; recordings of hers from the 1950s -- both studio recordings and live ones -- attest to this. She wasn't very fond of doing studio recordings, by the way -- it was a process that made her nervous, though in the end she did make some very fine ones.
@@galanis38 I understand what you are saying. I do think she changed her technical approach a bit during her hiatus from the Met for whatever reason, and that the shifts in her sound were not just a product of aging. For instance, she also started placing more at the bottom and bringing the head voice down in a sort of stuffy way, rather than singing clearly in the chest. Still great singing though.
Yes Tebaldi get it better than t his, much better. First of all: Milanov can do little next to Tebaldi timbre, 2nd) Tebaldi 's whole voice is better on bottom, middle and top, 3) in legato and in dynamic is much better too, 4) in phrasing is totally superior ruclips.net/video/6JmBGQVFfV4/видео.html
1. I prefer Milanov's timbre. It's subjective category after all.
2. Tebaldi oftentimes had problematic top, especially later in the career, even Zinka had occasional problems with high C, but Tebaldi was fragile and sometimes completely flat on high B as well (those in Gioconda pop to my mind) This rendition is beautiful, but, at least to my ears, her piano never had ringing quality of Milanov's. I agree though that she had better middle register.
3. Um, Milanov was just better in legato, wonder why Tebaldi could never sing Il Trovatore or Norma? Legato it is.
4. Tebaldi's phrasing is better, she was Italian after all.
@@equinox6651 I would like to know what you mean when you say "fragile". Precisely a characteristic of Tebaldi is that she has granitic high notes, Tebaldi's high notes are massive, full bodied and colorful. Milanov's high notes are clear in color.
Regarding Bs and Cs, if we do a check of live recordings, in the period 1947-1961 there are very rare events if there is any B or C of Tebaldi slightly flat, and if we do Zinka Milanov checks we will find events of flat high notes in the '40s too (not only in the' 50s), if we check recordings of Milanov's live, Anita Cerquetti, Maria Caniglia, Gina Cigna , Antonietta Stella, Elena Souliotis ecc we will find flat high notes But nobody pays attention to that, because people only repeat what the Callas fans say and the Callas fans have always sabotaged Renata Tebaldi.
Regarding the legato, Milanov has no better legato than Tebaldi, also the legato is not only especially demonstrated in Il trovatore, the legato is also shown in La Forza del Destino, in Aída, in Vissi d'arte, and in many arias and operas .
Regarding the timbre, I agree that each one has her own taste, for me Tebaldi has a purer voice (than Milanov) ,and placed forward, Milanov is more ingolatta. Regarding to pp in Gioconda , you are t alking of Tebaldi in 1966, yes in her "live" 1966 Giocondas there are Bflats slightly flat, but the only note in the opera (and we are talking of 1966, not in the '50s), in the rest her 66/67 Giocondas are impressive. I put a sample above of Tebaldi singing "Liberame domine" in 1950. I put it because you wrote in Milanov vice "Can it get better than this" ? You could not say anything above the audio sample I shared, you just wrote things not giving samples (only mentioning Tebaldi in 1966 events in one note).The real thing is Tebaldi high notes in this Requiem sample I shared are superior to Milanov in this 1938 broadcast
@@walteranibal8425
Tebaldi's high notes could be quite unstable from 1955 onwards. I recall O Patria Mia from 1958, she almost cracked, but so did Milanov. They both had unreliable top later in their careers, but Milanov seemed to keep her high B's very secure, even in the '60. It's a known fact that no one could tackle Milanov's piani, except for Caballe. Tebaldi had magnificient middle and beautiful piano, bit not in the same league with Milanov/Caballe. For me, Norma is a synonim for legato, Milanov did decent Norma, Tebaldi was smart enough not to tackle it. Well, I was reffering to the recording you posted, I think it's splendid, but I still prefer Zinka, even though Tebaldi's recording has much better quality.
@@equinox6651 There are several innacurances in your answer: Tebaldi in her Paris 1959 O patria mia, yes the note is not well sung, but she does not crack, as she notices her troath is closing she cuts the note quickly. Why you can say Tebaldi high notes could be unstable being only one document of Tebaldi not singing well the C in O patria mia ? and we have for example three Ghena Dimitrova Aidas where she misses the C in the three consecutive performances, Spain 1982, Paris 1984 and La Scala 1985, and others sopranos who have accidents in that note (but you says Tebaldi and not the others). There are Milanov flat Cs in the '40s and many Bflats not well sung by Milanov in the '50s, and you say she kept the B well always ? On the contrary there are not bad Bs and Cs of Tebaldi in the '50s. Norma is a role Milanov should have stawed away, her Norma is not good, the same for Cigna and Cerquetti. The NRO 1 Norma is Joan Sutherland. Caballe is a lyrical soprano and her high pp are all in falsetto after 1975.Tebaldi pp is not in the same league of Milanov of Caballe but is superior (I mean Tebaldi in the '50s). Another innacurate thing you said id Tebaldi could be unstable on high notes from 1955 onwards, thhat is absolutely false. Tebaldi top remained the same exactly until 1958/59, and even until 1961 she sang perfect Cs. Here you can listen Milanov in 1953 , she cannot sing well a Bflat , listen the final note of the aria ruclips.net/video/a8RZD0RbLbg/видео.html
@@equinox6651 why instead of commenting the "only one document exists of Tebaldi where the C in O patria mia is not well sung" you check Ghena Dimitrova attempting to sing a C and having a bitter accident in her attempt ? ruclips.net/video/-zvBGrHG4BU/видео.html