Renata Tebaldi-Tito Gobbi, Tosca, Ed or fra noi parliamo...Orsù, Tosca, parlate (Londra, live, 1955)

Renata Tebaldi-Tito Gobbi, Tosca, Ed or fra noi parliamo...Orsù, Tosca, parlate (Londra, live, 1955)

[@stuartblack758]

Superb. Tebaldi's voice here really flowed from top to bottom. It must have been amazing to stand next to her when she was singing like that.

[@user-jt4js7ed3e]

Люблю.

[@claudiopersi9925]

Interpreti magnifici: Renata voce d'ANGELO è semplicemente Meravigliosa. Tito Gobbi che ho visto in teatro, proprio in Scarpia, un gigante della scena indimenticabile.

[@antoniomartinazzo5847]

Tebaldi gives a masterclass in accento here. La parola unita alla musica.

[@jeaninemahieu5164]

Renata Tebaldi est une splendide Tosca, sa voix de velours est unique et inégalable, c'est la plus grande soprano lyrico-spinto du monde.

[@carlaghirardi4367]

Che voci meravigliose! Grazie hammill88

[@stevecampo1618]

❤️‍🔥 In 1961 I was in fourth grade. I had just started listening to opera recordings and I didn’t quite understand the fervor surrounding Renata Tebaldi. It wasn’t until a few years later that I began listening to some of her pre-1958 monophonic recordings, and particularly recordings of live performances. Suddenly I “got it”. In retrospect I realized that Tebaldi’s stereo recordings constituted a manipulated, diminished, and veiled version of the “straight-on” sound of her voice in mono. In striving for a “balanced” auditory experience, the newly emerging stereo technology of the late 1950s and early 1960s simply did not capture the glory of her instrument. It muddied the crystalline purity and reduced the clarion impact of her voice. However, even her in-studio mono recordings pale when compared to many live performance recordings. When recording in-studio, Tebaldi made thoughtful, occasionally cautious choices. But the presence of an audience liberated her. hammill88, your channel has provided an extraordinary documentation of the very best of Tebaldi’s live performances. These are Tebaldi’s recorded treasures. All this said, I feel compelled to acknowledge Renata Tebaldi’s most significant and tragic adult life event, namely, the death of her beloved mother, Giuseppina, in 1957. One can only guess as to just how profoundly this affected her. What is known is that Tebaldi was just a step away from leaving the operatic stage and entering a convent following the death of Giuseppina. Only the efforts of her many close friends persuaded her to trace her way back to the glorious artistic gift that she - and now your channel - would continue to share with the world. Thank you so much.

[@chocolatesouljah]

Wow! Thanks for this valentine to the great Tebaldi.

[@asdrubalperez1507]

la Tebaldi..!!

[@GiuseppeMelchiorre-lk6by]

2 Voci incoparabili.

[@davideferrari5702]

Duetto da antologia....certo che la Tosca della Tebaldi è unica e magnifica...

[@e.g.8454]

Davide concordo.

[@luigipirsavele9373]

Duetto straordinario. La. La Gebsldi

[@luigipirsavele9373]

Interpretazione magistrale e straordinaria. La voce della Tebaldi ha tutto ma proprio tutto per diventare un modello per le generazioni future. Ma dove si trova una Tosca così! La ricerca sarebbe vana.

[@davideferrari5702]

@@luigipirsavele9373 infatti... comunque inarrivabile

[@e.g.8454]

L'unica che mi viene in mente ai giorni nostri Saioa Hernandez.

[@kennethgarrison9523]

Bravi!

[@user-jt4js7ed3e]

Люблю Ренату, Тіто і "Тоску".

[@Orfeus80]

One of my absolute favourite Tosca live performances. I have difficulty choosing between this, the 1958 Brussels (Di Stefano, Bastianini) and the 1958 Naples (Corelli, Colzani) performances. This 1955 London broadcast boasts the best sound however which gives it an edge. The later Scala performance (1959), again with the formidable Gobbi isn't as clear. In any case listen and marvel at the wonderfully balanced singing and acting of Renata Tebaldi in one of her greatest roles.

[@stephenlord9]

Th the C's were spot on!

[@ER1CwC]

There's also the 1956 Tosca from the Met that's in pretty good sound, although I think Tucker and Warren aren't to your taste! Of the other ones, I think the Naples is on balance better because Corelli is better suited to this rep than Di Stefano. Bastianini is monumental, but Colzani is more than respectable. As for La Scala, Tebaldi's vocal heaviness is starting to set in. For this one from CG, Tagliavini is a big liability for me. I also wonder how Gobbi sounded in the house. He's a great interpreter, but the voice was not big, and it did not have a lot of ring.

[@ransomcoates546]

They are both spectacular. I am always struck by how different the studio recordings of artists trained for the stage are from what they actually did in the theater. The whole idea of ‘placid Tebaldi’ comes from London recordings, not her performances, where, when required, she matches the tigress Callas claw for claw. (Can you say something about the technology that makes these old tapes sound like contemporary recordings? Also, I should be able to tell who the Cavaradossi is but can’t.)

[@Orfeus80]

Ferruccio Tagliavini

[@ransomcoates546]

@@Orfeus80 Ah, he did extend himself beyond his vocal capacity, didn’t he. Good luck to him in the duets with Tebaldi!

[@Orfeus80]

@@ransomcoates546 not many tenors could match Tebaldi but she never gave me the impression she was there to oversing and cover them. I believe this was Tagliavini´s heaviest role. It's clear to me however that they are a vocal generation apart.

[@aetion]

@@ransomcoates546 Ferruccio Tagliavini had one of the most precious lyric tenor voices of the 20th century. Unfortunately, by singing roles unsuitable for his voice, he damaged it. Cavaradossi was one of those roles.

[@ER1CwC]

@@Orfeus80 Did she ever sing with Kurt Baum? She was generally a good colleague, but even the Buddha has a temper.

[@user-jt4js7ed3e]

Люблю.