I saw her with Franco Corelli in Chenier. I got both their autographs. Audio catches just the edge of her voice. It is so lush in the middle like a huge fleecy blanket over orchestra. Then Corelli with that giant glorious sound and silvery resonance. Yes her high notes were rather shrill but there was so much to make up for it.
Thanks for sharing that perspective on the limitations of recording techniques to fully capture the true sound of a voice such Tebald"'s. It was truely massive and it's vibrations dominated the theatre's environment.
Those are callasites who have never been able to admit their diva had spent her voice by 1960 and pitifully hung around singing here and there for another five excruciating years.
Interesting that she was only 44 years old here. The exceptional beauty of the middle of the voice is undeniable, but I think many singers would say that the trouble with the top and such an extreme approach to the lower voice are related issues.
I don’t know why she decided to exploit the chest voice so dangerously. It certainly did not help the problem with the ‘acuti’. I heard her in ‘Bohème’ in 1964 after her return to the stage, and she sounded very much like her old self. ‘Gioconda’ was the real turning point in throwing caution completely to the wind.
@@Marcus-xd8ux In a late interview she actually said that because of the disruptions of the war Madame Melis was perhaps unable to give her a completely finished technique.
It was worth it! The first opera I saw at the Met was GIOCONDA with Tebaldi and Corelli in 1967. It was such a thrilling performance, all the rest was down-hill ever after. By that time Tebaldi could still manage those high pianissimi but practically sounded like a tenor in her chest register. It was very dramatic, but the loud high notes could be shrill and flat. Even so, she was glorious.
@@Marcus-xd8ux I don't think Tebaldi used chest voice to compensate for a weakness in the middle voice. I think it was a conscious and deliberate choice to make a dramatic point. I wonder if she tired of her image as "la voce del angelo" and wanted to compete with other dramatic sopranos.
@@Perrosiutico A well placed Met source once told me that the management suggested to her this very idea, that her vulnerable, angelic vocal persona needed some ‘pizzaz’ to keep her viable on the roster.
@@ransomcoates546 don't write nonsense please and things Tebaldi never said. Tebaldi has a great technique that kept her voice beautiful until her last concerts in 1976
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I saw her with Franco Corelli in Chenier. I got both their autographs. Audio catches just the edge of her voice. It is so lush in the middle like a huge fleecy blanket over orchestra. Then Corelli with that giant glorious sound and silvery resonance. Yes her high notes were rather shrill but there was so much to make up for it.
Thanks for sharing your memory.
Thanks for sharing that perspective on the limitations of recording techniques to fully capture the true sound of a voice such Tebald"'s. It was truely massive and it's vibrations dominated the theatre's environment.
BRAVA, DIVA!
Maria Callas and Renata Tebaldi are the two best interpreters of this splendid aria which is very difficult to sing and interpret.
скорее Тебальди и Зинка Миланова. В этой армии нужен красивый голос а Каллас таковым не обладала Тут мало мелизмов и плохой тембр не скроешь.
Da voce all'Amor! Superba!!!!!!!!
Anyone who thought Tebaldi's voice was over by 1963 was seriously mistaken...She still stands head and shoulders above the competition..
This is absolutely not the case. This voice is still perfect in all registers. I have loved this voice for over 50 years. Hans Antons
Those are callasites who have never been able to admit their diva had spent her voice by 1960 and pitifully hung around singing here and there for another five excruciating years.
Magnificent!
Perfect chest voice! Así se debe cantar. Con la profundidad del pecho (verdadero sonido sul fiato) participando en todos los registros
Незабываемая примадонна! Brava, Renata!
MARAVILLOSA
Brava Tebaldi !!!!!!!!!!!!!!!!!!!!!!!!!! I miss you
Grandíssima i estimada Renata Tebaldi. !!!
The one and only.....
Não foi por acaso que o grande Toscanini a chamou de Voz de Anjo!!
Can you upload the final duet from this performance?
I've already done it and I'm uploading it right now. I hope you'll enjoy
ruclips.net/video/Kx4xu0i9D28/видео.html
Thank you so much
I can't tell if the baritone is Robert Merrill or Sherrill Milnes. I know they both sang Carlo Gerard at the Met in 1966.
Interesting that she was only 44 years old here. The exceptional beauty of the middle of the voice is undeniable, but I think many singers would say that the trouble with the top and such an extreme approach to the lower voice are related issues.
5:04 Chi è che canta Juan Diego Florez? Ahahahahahahahahah Grande Tebaldi!
L'esecuzione del pezzo è stupenda...naturalmente il DO come sempre, è stiracchiato e fisso...
radames58, non e' un Do ma un Si.
E un do, un può calante!
@@alexeyizmirliev64 no é un si pieno
@@albicocca3913 dippende dalla velocità del apparecchio!
@opera revenger non esiste perfetto nell'arte!
Il violoncellista lo dovevano licenziare!
Francesca artal
I don’t know why she decided to exploit the chest voice so dangerously. It certainly did not help the problem with the ‘acuti’. I heard her in ‘Bohème’ in 1964 after her return to the stage, and she sounded very much like her old self. ‘Gioconda’ was the real turning point in throwing caution completely to the wind.
@@Marcus-xd8ux In a late interview she actually said that because of the disruptions of the war Madame Melis was perhaps unable to give her a completely finished technique.
It was worth it! The first opera I saw at the Met was GIOCONDA with Tebaldi and Corelli in 1967. It was such a thrilling performance, all the rest was down-hill ever after. By that time Tebaldi could still manage those high pianissimi but practically sounded like a tenor in her chest register. It was very dramatic, but the loud high notes could be shrill and flat. Even so, she was glorious.
@@Marcus-xd8ux I don't think Tebaldi used chest voice to compensate for a weakness in the middle voice. I think it was a conscious and deliberate choice to make a dramatic point. I wonder if she tired of her image as "la voce del angelo" and wanted to compete with other dramatic sopranos.
@@Perrosiutico A well placed Met source once told me that the management suggested to her this very idea, that her vulnerable, angelic vocal persona needed some ‘pizzaz’ to keep her viable on the roster.
@@ransomcoates546 don't write nonsense please and things Tebaldi never said. Tebaldi has a great technique that kept her voice beautiful until her last concerts in 1976