Renata Tebaldi, Traviata, Teneste la promessa...Addio del passato (Rio de Janeiro, live, 1951)

Renata Tebaldi, Traviata, Teneste la promessa...Addio del passato (Rio de Janeiro, live, 1951)

[@laraales1477]

Какое мастерство и при этом редчайший голос !!!огромное спасибо!!!

[@jeaninemahieu5164]

Merveilleuse et inégalable Renata Tebaldi !!! Voix unique et splendide !!! C'est la plus grande soprano lyrico-spinto du monde.

[@davidsimmons654]

❤❤❤❤❤

[@80Mrmirko]

Estatica, sublime, terribilmente umana, spirituale, viscerale. Non si può avere di più in un’unica esecuzione.

[@omaramerio454]

La grabacion no es la mejor pero vale para rescatar la voz de Renata Tebaldi, toda emocion , en uno de sus mejores momentos. Extraordinaria fue su Violeta!

[@e.g.8454]

Grande Renata.🎶🎵

[@photo161]

" The voice of an angel." - Arturo Toscanini

[@Orfeus80]

I can't think of any heavier voiced Violettas who managed to convey such fragility along with beauty. I hear the words of Caballe who said it's a great loss we no longer hear a Violetta of Tebaldi´s quality.

[@michaeldslipp1078]

Searingly expressive. So verbal! I believe it was just a few disastrous quotations from Callas (“What a beautiful voice. Who cares?”) and a few others that helped forever to set the narrative of Tebaldi as a mere beautiful voice.

[@hammill88]

The best answers to anyone who has tried, or still tries, to diminish Renata Tebaldi's art always come from the audience's delirious ovations. An immense love, like few possible comparisons, that has always accompanied her throughout her thirty-two-year career.

[@fabriziogarzi9892]

La Callas non si e' mai sognata di dire una cosa del genere. In tutte le interviste, scritte e TV, non parla mai dei colleghi, mai. Un paio di volte ha accennato alla maestra e al M°Serafin. Nomi non ne ha mai fatti. Neppure di un regista.

[@ransomcoates546]

I see that in 1951 she was in Brazil from 8/24 to 10/3. She sang ‘Chénier’ on 9/29 and the Verdi ‘Requiem’ on 10/1, both with Gigli. Does anything from those performances remain? A concert on 9/14 was, according to Tebaldi, the ultimate origin of the feud with Callas, who was also singing that night. She tells the story on herself, although it shows her in a very uncharacteristic high-diva mode. All the artists had agreed not to give encores, but when Tebaldi sang (I’ve forgotten the aria) the audience would not stop applauding and shouting ‘bis’. Finally she gave in; Callas was not amused.

[@fabriziogarzi9892]

La Callas, sempre disciplinatissima e ligia al dovere, aveva ragione.

[@jquiroga7820]

Thank you very much!!!. It is a pity that Tebaldi never sang (or at least was never recorded) this aria in his complete version. Nowadays it is always sung in full, it seems that in that period it was not common.