Madama Butterfly: Act I (Love Duet) - Bimba, non piangere...Viene la sera - Tebaldi, Bergonzi (1958)

[@FredoBatista-fn3vv]

A magnificent set of duets.💙💙 Two sublime operatic stars 🌟🌟

[@elainelotcpeich]

Magnificent! Two of the best ever!!

[@davidmolina7543]

Absolutely

[@AlfredBernasek-vm2jt]

UNGLAUBLICH FANTASTISCH ❤

[@tedotten4377]

Brava, Diva!

[@riccardowarwick]

Both glorious

[@aljart]

Tebaldi, una voz que trasmite amor. Bergonzi, un excelente Pinkerton.

[@davidmolina7543]

Absolutely

[@omaramerio454]

Maravilloso duo. La Tebaldi como siempre; insuperable canta desde el cuore!

[@davidmolina7543]

Absolutely

[@giovannima7546]

This duet is definitely one of the best!!

[@davidmolina7543]

Absolutely

[@weiliu3623]

Do you mean the performance or the composition? I prefer Scotto in this role. Tebaldi’s voice is overly powerful for Butterfly.

[@judithbereczky4114]

@@weiliu3623 You mean Scotto?

[@weiliu3623]

@@judithbereczky4114 Yes, thanks.

[@fideliofidelio1222]

Thank you for sharing this clean work with two Great !

[@fredobatista4367]

💚💙

[@AndersGraven]

Try also Jussi Bjørling and Victoria de los Angeles. Different, but they are both exquisite.

[@davidmolina7543]

Also try Victoria de Los Angeles and De Stefano in her first studio recording of M.Butterfly, lovely.

[@abkquan]

My favorite version of Butterfly. Tebaldi & Bergonzi are both glorious. But it is Serafin's conducting that is miraculous. I know of no other recording that has Serafin's sense of pacing and overall architecture. Serafin's Turandot of the same era, with Callas, is equally outstanding. Like Karl Bohm, Serafin is one of those conductors who, seemingly not doing very much (no excessive push and pull) achieves miraculous results.

[@paulvesely4773]

I agree completely but could not have said it as well. Thank you. This trio from Madame Butterfly showcases the brilliance of Serafin. For me one of the most beautiful 1:57 min. of music in Bel Canto opera. lo so che alle pena //Carlo Bergonzi , Enzo Sordello & Fiorenza Cossotto, // kzbin.info/www/bejne/mYncgKRogLWfqNk

[@paulvesely4773]

You seem very knowledgeable about Puccini . I have a question that hopefully you or someone else can address. Act 1 Madame Butterfly - Act I: O Kami! O Kami! . The melody here has haunted me most of my adult life. It is so beautiful. Why only 37 seconds . The exposition of this melody leads us to believe we will hear it again. Why did Puccini not develop it or use it again ?

[@abkquan]

@@paulvesely4773 You are quite right. Puccini is so full of melody that he doesn't often reuse them. Butterfly Act 3 (= act 2 part 2) is also full of new & beautiful melodies, such as the very brief exchange between Butterfly and Kate. Also Tosca act 2, in the very brief meeting between Tosca & Cavaradossi, there is a sort of love duet lasting no more half a minute. I haven't studied Puccini's music but there is a possibility that many of the different melodies are thematically or motivically linked.

[@paulvesely4773]

@@abkquan Thank you for your response. When and if I get to the next life hopefully I will have the opportunity to ask Giacomo this question directly. For most of us mortals , the very idea of having these incredible , beautiful melodies floating about in our minds is inconceivable .

[@luigicorvi1661]

@@paulvesely4773 Can I interpose as you have already said ....all is true. It seems that the treasure trove of the great Maestro Puccini is endless..that such a lovely line as the .. .o kami..........sorry.....Renata breathing the vogliatemi bene....barely seeming to utter the words ....then suddenly flowing likethe londa del mare....her voice seems to be a tdunami never mind a wave! It is also true that the maestro did spater original folk tunes to give more feeling for a time and a place....and though i have never heard it ascerted......it is possibly what the ....o kami... Is....!

[@Matt-cm8hh]

Very good! Almost surpasses Bjorling

[@barrybernstein9049]

In my opinion this is superior.

[@Kjuken69]

Nobody surpasses Björling! but Tebaldi is incredible, maybe better then los Angeles, but the smoothness and vocal-line of björling is unbeatable. You have to prefer italian tenors to think otherwise, they all have a more stacato vocal-line , like for example Gigli or Corelli, they had power, but not near björling in smoothness and vocal-line, no wobbling or anything like that, just gliding through the notes. Bjorling was 1 in a million!

[@massimocassano2545]

Bergonzi nobilita l' ingrato compito di Pinkerton .

[@massimocassano2545]

Ruolo

[@richardmcmahon7466]

Am still waiting a tenor to fill Bergonzi`s boots.

[@weiliu3623]

I would only listen to Italian singers.

[@philipc67]

Her final high C6 is a little flat and contains a small vocal break. He remains on pitch.

[@user-mp3fb7by4w]

Ma vedi d’annaffanculo. E’ come trovare una vena grigia nel marmo di Carrara. Ma sul Mose’ di Michelangelo. Che Dio ci liberi dai callasiani stronzi.