Grande Renata Tebaldi Triumphs in her Greatest most Iconic Role

[@juanloaezaviadas500]

That phrasing that Tebaldi had was so beautiful.

[@Arkelk2010]

I love Tebaldi's singing--especially those glorious soft high notes. Alas, loud high notes were not her friends. From records, since i never heard her live, my favorite roles of hers were Tosca and Desdemona.

[@fan2jnrc]

That prayer in Act II, especially sung and staged like this, is enough to make you cry your eyes out.

[@LohengrinO]

Tebaldi is one of the Greats I never truly liked (very much like I never liked L Price)... but I do recognize this is true Italian singing... no pollution by vocal tricks to bypass the difficulty of the vocal writing... Genuine italian singing. I believe this sincere italian singing is dead in our days... and in this performance I dont hear badly tuned notes (off pitch) which means she had really studied the role

[@user-highbaritone]

I believe you are right. I have a friend who saw her in London and said her Butterfly was also magnificent. I do feel the same as you regarding her, but I saw Price several times in concert and she was wonderful.

[@LohengrinO]

@@user-highbaritone Price was definitely more than wonderful and also one of the Greats but I feel when I read comments about her that she was a bit overrated inside the undisputable Great category.... there are several truly Greats I never personally liked and from the top of my mind I would say: L Price, R Tebaldi, S Verrett... to put it in other words, if they were the only sopranos of the 20th century I would probably never listen to opera

[@user-highbaritone]

@ that is food for thought. I’m going to ponder over that thought. I came to opera at about 21 at university. Then I got onto the professional chorus of the opera company while at university. I loved Fischer Dieskau. A great voice to record. I know it wasn’t big. Neither was mine. The first time I was speechless at a live performance was Sutherland in 1972 in Borgia. I was in the chorus. The second time was a Caballe concert, I was turning pages. The third time was Price in concert. Verdi and Mozart. It was wonderful. Callas came in 1974. A very sad time. You have led me to her brilliance and for that I thank you. Nielsen in 1977 at Covent Garden, a voice of steel. Renee Fleming here in Australia, was fantastic. So committed. We have seen Oropesa three times live now. Also a very committed actress and one of voice. You bring me a great deal of joy in my reclining years. ❤️

[@fan2jnrc]

​@@LohengrinOI couldn't agree more. I confess I was never especially responsive to Tebaldi, but her singing has an angelic purity that works admirably in certain roles. In Butterfly she is overwhelming, and here as Leonora too.

[@michaelblack1977]

Some extremely beautiful singing.

[@beachfanatic2010]

I love Tebaldi here. Sometimes she was in bad voice and sounded like an old hen. But we cannot deny her incredible gift. The voice was lyric yet HUGE in true spinto size. That’s a rare combination.

[@cosimoepicoco7022]

Voce angelica!🌹❤️

[@lalagonegaga]

When everything is right.

[@josepacifico-mc9pr]

una GRANDE!!!!... ETERNA!!!.......

[@aetion]

Μία απ' αυτές που θα μείνουν αξέχαστες. Η Λεονόρα της είναι καταπληκτική. Ευχαριστώ, φίλε μου.

[@hrvoje14]

I would agree this must be her best role (along with imho Desdemona). Like custom-written for her voice type and range. (Aida is similarly perfect for her, except for the C6, on which she was often (always?) noticeably flat.) Her voice is just so beautiful and luscious here. And always clear and forward. 👍👍

[@LohengrinO]

I also like her Lohengrin Elsa and since her vocal surface is Lyrical but the volume is Dramatic (Spinto) I think she was the Ideal Elsa in big Houses

[@neildarling2404]

@@LohengrinO Her Cio-Cio San is also quite compelling in my opinion. That friction between the lyrico and spinto aspects of her voice was her blessing and curse, eh?

[@LohengrinO]

@@neildarling2404 she managed the Db6 / C6s of the role?

[@davidmolina7543]

No, you didn’t. However that is true.😎

[@davidmolina7543]

@@neildarling2404 I agree I think she had one of the most luscious and resplendent Voices to sing Madame Butterfly.

[@feeniix6]

Flawless

[@konstantinosaspiotis5947]

Timeless performance, my first opera idol ❤ (Although I personally prefer her in the Mitropoulos live recording from '53)

[@neildarling2404]

La Tebaldi-the eternal flame of femininity. Fragrant, full, proudly overripe, slightly sour at the edges. I love her.

[@neildarling2404]

This is a treasured recording for sure. So many incredible artists to enjoy!

[@davidmolina7543]

I love your description of her voice.😎

[@johnwatson8323]

♥️♥️♥️♥️♥️

[@lanesville]

One of the few roles that I'm in doubt of if I choose Callas or Tebaldi - the greatest interpreters of Leonora, in my opinion. Thank you for sharing the video!

[@LohengrinO]

Well it was Tebaldi's signature role ...

[@lanesville]

​@@LohengrinO - I totally agree!

[@hrvoje14]

@@lanesville Luckily, we have BOTH: Tebaldi’s singing is more beautiful, “the voice of an angel”; Callas’ singing is more believable, the voice of… well, Leonora. 🤷🏼‍♂️

[@judithbereczky4114]

I would add Zinka Milanov

[@hrvoje14]

@@judithbereczky4114 Zinka was great in this repertoire, yes! Also in Aida, Ballo, etc.

[@marcorossi4911]

This performance in the San Carlo of Napoli has rightfully gone down in history, from the simple beauty of the costumes to the almost perfect cast. Actually my personal favorite performance of Tebaldi is her Matilde from Guglielo Tell. I doubt she could sing all the role successfully but in this concert of 1953 I believe she truly shines (considering that I’ve never grown too fond of her singing mannerisms, apart from her 2/3 signature roles). I actually believe she would have been best suited to Wagner. Curious to know what you all think kzbin.info/www/bejne/ZnPHgZqDd7hogrcsi=aEoO6kiL3cTsCT7J Can someone really passionate about her indicate me her best performance?

[@dankurth4232]

The rather moderate dramatics of (most parts) of the role - so to say some lack of force at the part of Leonora in … La forca ..) let the qualities of her voice (easy flowing higher tone set upon a strong yet not really agile setting) shine

[@LohengrinO]

Listening to her coloratura efforts I have to say I hear great agility in a very badly trained voice... I dont hear a rigid voice, I hear great agility but no accuracy... Gorgeous big voices succeed so easily they usually lack training

[@daisiesof7778]

🎶💗🌈🌹🎶🎶🎶🎶💕🎇🙏!!!!!!!!!!

[@stefanocautavera]

She is easily one of the greatest Leonoras. That said, she has sung this aria better in other performances. Here she faces some minor issues with tempo, and the pianissimo on “Invan la pace” (4:19) is rather strained and shaky. The end result is still admirable, but she has done better.

[@LohengrinO]

Not just pianissimo, she starts pianissimo and ascends to forte but with a minor tonal glitch at 4:24 which she fasts puts back on tonality track... I personally will never understand how these people were performing live knowing a camera or even a mic was recording their tiniest mistake for all eternity... It makes me completely understand Birgit Nilsson's famous quote: I would often find myself on the way to the theatre wishing a small accident would happen to me, small enough not to hurt me but big enough to CANCEL the performance :D

[@neildarling2404]

@@LohengrinO Fantastic story and one I fully understand. You’ve got to have the mentality of a bullfighter, and like the bullfighter, once you’ve truly lost your nerve, you’re done.

[@celloguy]

So unsatisfactory for me. Too much sliding around to reach the notes, very little rhythmic impulse or awareness so every phrase slows down, and she is constantly behind the beat. The tone often turns acidic, and there’s so little attention paid to the meaning of each word, each phrase - we just get a generic emotion for the full duration of the aria. I hate to say it but it reminds me of amateurs that didn’t learn to be musicians before they started singing. Now I need to listen to Callas in this aria to clean my ears out. Her recording of this is one of the most precious jewels of her studio recordings - it’s ravishing.

[@LohengrinO]

Thats why I love my channel ❤... but I really like her here

[@hrvoje14]

I agree regarding expression/vocal acting: yes, Callas sounds supremely convincing as Leonora, i.e. really anguished/tortured/agitated/pleading for the peace that’s eluding her etc, i.e. just as required. Tebaldi perhaps sounds a bit “generic”, as you say, a bit too soothing/pleasant/already at peace (the “curse” of having a classically beautiful/smooth/“angelic”/even tone?). BUT - and I’m saying this as an unabashed Callas fanatic - IF I’m looking for “ravishing”, I’m definitely going with Tebaldi.

[@andrezvillanova1879]

Callas realmente é incrível e majestosa em todas as áreas que cantou, essa é uma delas. Embora Callas seja melhor e a maior soprano do mundo, eu gostei de Tebaldi nessa área.

[@neildarling2404]

@@celloguy I understand what you are saying, but less for Tebaldi’s imperfection than more for Callas’s substantial artistry.

[@stefanocautavera]

As much as I love young Callas’ voice, the Forza Leonora was FAR from being one of her best roles.