BARBARA YOU ARE SO BEAUTIFUL ADORABLE SEDUCTIVE RAVISHING SEXY CAPTIVATING AND PASSIONATE YOUR BEAUTY IS PHENOMENAL IF MOZART WERE ALIVE TODAY YOU WOULD BE HIS MUSE LET ME FALL IN LOVE WITH YOU MARCVOLPE ❤
I have to admit, this is absolutely beautiful!! I typically am not much of a Tebaldi fan at all. But this is exceptionally good! What I find interesting is that she was not known for Bel Canto repertoire. But the two Bellini pieces I've heard her sing (this and Ah non credea) all both awesome! I wish she would have ventured out more into the Bel Canto repertoire than she did. I think she actually sounded better on that than she did with her Verismo repertoire. (But then the Callas vs. Tebaldi feud would have been even worse than it was!)
Her florid technique was never ideal for bel canto (although it was more respectable than many like to admit), and I think that her tessitura was a little low for that rep. Serafin did offer to teach her Norma, but she declined. The pieces you cite play into her strengths, definitely. In her heyday, she actually did sing L’assedio di Corinto (Rossini) and some arias here and there, like Selva opaca. And she sang or recorded some operas that I’d call bel canto adjacent, like Traviata, Trovatore, and Giulio Cesare.
@@ER1CwC Thank you! Makes total sense. I do believe that for the most part florid singing is something that can be learned, trained, and developed. So, I'm guessing that perhaps this was just never really focused on in her training, but I could be wrong. I would LOVE to hear her L'assedio di Corinto! Do you know if it was ever recorded?
@@artdanks4846 ruclips.net/video/-HfHS4c9e78/видео.html here you go! This is from a opera of the full opera which is also available on RUclips, although I vaguely recall that the full recording on RUclips is pitched incorrectly. (My memory might be wrong though.) I don’t think her voice by nature could ever be as flexible as say Callas’s. But I think you’re right that that technique can be trained to an extent. I do think her voice got lost whatever flexibility it has after she stopped singing Traviata. That was a mistake.
She had plenty flexibility with incredible accuracy and point-listen to her Händel and her Verdi Giovanna D’Arco. I’ll grant ya she never had I trill (although I’ve heard a few convincing trill-substitutes). But it’s surprising (?) how many great bel-canto specialists didn’t.
Vaga luna, che inargenti Queste rive e questi fiori Ed inspiri agli elementi Il linguaggio dell'amor; Testimonio or sei tu sola Del mio fervido desir, Ed a lei che m'innamora Conta i palpiti e i sospir. Dille pur che lontananza Il mio duol non può lenire, Che se nutro una speranza, Ella è sol nell'avvenir. Dille pur che giorno e sera Conto l'ore del dolor, Che una speme lusinghiera Mi conforta nell'amor.
Beautiful job, but I would direct you to the recording by Ruth Ann Swenson for a sublime performance. I always thought Tebaldi should have focused on the art songs so as not to be challenged by notes above G or A flat.
Bella come una dea dalla voce incantatrice
아! 가을이 무르익는 느낌!
Beautiful Song, Most Beautiful Singing
Un canto delicato, ispirato,siamo in paradiso,
Renata Tebaldi è splendida. Una autentica regina! La sua voce inconfondibile, i legati, il porgere le parole, la rendono unica ed indimenticabile.
가슴이 저릴만큼 아름다운 곡이네요
Incanto interpretativo, magistrale senso del legato, abbandono all'estasi melodica: un Bellini ammirevolmente autentico
Magnifique ! C'est la vraie technique !!! Voix si angélique ! Merci Renata TEBALDI !
BARBARA YOU ARE SO BEAUTIFUL ADORABLE SEDUCTIVE RAVISHING SEXY CAPTIVATING AND PASSIONATE YOUR BEAUTY IS PHENOMENAL IF MOZART WERE ALIVE TODAY YOU WOULD BE HIS MUSE LET ME FALL IN LOVE WITH YOU MARCVOLPE ❤
Ça convient mieux au voix d’homme
I have to admit, this is absolutely beautiful!! I typically am not much of a Tebaldi fan at all. But this is exceptionally good! What I find interesting is that she was not known for Bel Canto repertoire. But the two Bellini pieces I've heard her sing (this and Ah non credea) all both awesome! I wish she would have ventured out more into the Bel Canto repertoire than she did. I think she actually sounded better on that than she did with her Verismo repertoire. (But then the Callas vs. Tebaldi feud would have been even worse than it was!)
Her florid technique was never ideal for bel canto (although it was more respectable than many like to admit), and I think that her tessitura was a little low for that rep. Serafin did offer to teach her Norma, but she declined. The pieces you cite play into her strengths, definitely. In her heyday, she actually did sing L’assedio di Corinto (Rossini) and some arias here and there, like Selva opaca. And she sang or recorded some operas that I’d call bel canto adjacent, like Traviata, Trovatore, and Giulio Cesare.
@@ER1CwC Thank you! Makes total sense. I do believe that for the most part florid singing is something that can be learned, trained, and developed. So, I'm guessing that perhaps this was just never really focused on in her training, but I could be wrong. I would LOVE to hear her L'assedio di Corinto! Do you know if it was ever recorded?
@@artdanks4846 ruclips.net/video/-HfHS4c9e78/видео.html here you go! This is from a opera of the full opera which is also available on RUclips, although I vaguely recall that the full recording on RUclips is pitched incorrectly. (My memory might be wrong though.)
I don’t think her voice by nature could ever be as flexible as say Callas’s. But I think you’re right that that technique can be trained to an extent. I do think her voice got lost whatever flexibility it has after she stopped singing Traviata. That was a mistake.
She had plenty flexibility with incredible accuracy and point-listen to her Händel and her Verdi Giovanna D’Arco. I’ll grant ya she never had I trill (although I’ve heard a few convincing trill-substitutes). But it’s surprising (?) how many great bel-canto specialists didn’t.
Divino, bel canto
Amazing voice!! ^_^
I could never listen to anyone else's interpretation of this Aria.❤❤❤❤
Puikiai
Renata
Tebaldi!
Vaga luna, che inargenti
Queste rive e questi fiori
Ed inspiri agli elementi
Il linguaggio dell'amor;
Testimonio or sei tu sola
Del mio fervido desir,
Ed a lei che m'innamora
Conta i palpiti e i sospir.
Dille pur che lontananza
Il mio duol non può lenire,
Che se nutro una speranza,
Ella è sol nell'avvenir.
Dille pur che giorno e sera
Conto l'ore del dolor,
Che una speme lusinghiera
Mi conforta nell'amor.
Magnificient!
何と品格のある美しい演奏でしょう。
Reminds me a bit of Cunizzas aria in Oberto by Verdi. Naturally, the young Verdi was inspired by his predecessors.
ピアノは素晴らしい
Grandissima Tebaldii, la rivale della Callas nell" interpretare Bellini!...
Ренаточка - краща всіх!
So Gentile
Beautiful job, but I would direct you to the recording by Ruth Ann Swenson for a sublime performance. I always thought Tebaldi should have focused on the art songs so as not to be challenged by notes above G or A flat.
Hatsikidee
굿