Dans ce rôle, Caballe surclasse toutes les autres selon moi, y compris Callas. N'en déplaise aux inconditionnels de M.Callas. Le problème avec Callas, ce n'est pas Callas (grande cantatrice) mais les callassiens qui frisent l'hystérie et l'insolence, pour ne pas dire la connerie!
Tebaldi was superb in Verdi, Puccini, and in verismo roles. But Norma is the wrong role for her. She was a spinto dramatic soprano and Norma is a bel canto role which requires a coloratura dramatic soprano. Callas and Sutherland were the greatest Normas.
Tebaldi was a great artist and a great voice respect her for that. Callas has some recordings of Norma that do not show case her voice at it's best. When I listen to Bellini or Donizetti I prefer Caballe to Callas becasue the voice was so creamy and rich, no one matched Callas's passion her vocal agility except Sutherland and her sheer fearlessness and emotional immersion in this role. I heard some beautiful singing from all these ladies
This is not de Tebaldi´s masterpiece, but she has a marvellous and wonderfull voice, of a soprano lírico-spinto, and her "pianissimo" becames a legend. Her Legato was her majour "atout". I remember her duetos with the great Franco Corelli.
I love Tebaldi and she sings this aria well but it does not quite make it into the minute echelon that do this well: Callas, Muzio, Caballe, Scotto, etc.
I also have never been a big Tebaldi fan, and this is a very dull "Casta Diva", but then I might be too used to the more dramatic Normas. Callas for sure. After her, not sure. I actually like Renee Fleming's version (but I'm sure that comment will get me in trouble).
Tebaldi was a magnificent soprano but Norma didn't really suit her voice. Norma is a bel canto role, requiring a coloratura with dramatic voice. She has the dramatic part but no coloratura. She also didn't make bel canto her specialty the way that Callas did singing Bolena, Lucia, Pirata, Armida, etc. Tebaldi was a spinto lyric dramatic voice great as Butterfly, Leonora and Tosca. But not Norma. She didn't have the experience for it.
@OperaMystery80 Too late for her voice (here in the late 60's) seems to be a better analysis: still a great voice on stage but in studio, breath is short, high notes too! From 45 to 55, she was good for romantic operas too : don't forget she sang bel canto : Il assedio di Corinto-Rossini, Guglielmo Tell-Rossini, Jules Cesar-Handel.... with tremendous success. Old live recordings proove it... She made another choice and, of course, it became impossible to go back.
@OperaFree Yes her age, I suppose in her prime she could have sung this much better. She had a beautiful voice; I'm not pro-Calls or pro-Tebaldi, I love to listen to a lot of different singers and they all have their merits. For Norma, however, I prefer Calls over Tebaldi. I also maintain that Tebaldi was better suited to Puccini, Verdi, verisimo but not bel canto. Did she ever sing Lucia ? Bolena ? Lucrezia ? Callas was the bel canto expert. Nonetheless I also adore Tebaldi.
OMG if you translate Casta Diva to english you will get Chaste Diva.... she make is so perfect.... that I could believe that she could change that title to Unfuckble Diva... those high notes ... you could feel that she knew that she would died virgin. Listening this makes you think that Norma wasn't for her.
But its ok.... she had nice voice, and in these days where ppl like Lady Gaga can make a fortune singing about Judas, whos me to judge Renata... right?
After listening to that high C coming from Renata's throat, I really beieve to Callas' statement about coloratura: it really help your voice, they're healthy. Listen to all the normal tension in her voice going away and with great ease making that gloriuos high C, after all those high B's.
@RoOodOoOloOmeg Every singer knows that one must keep the voice flexible, even if one does not sing lots of coloratura. Coloratura passages are like medicine for the voice.
Tebaldi, one of greatest sopranos who ever lived, a spinto with a big and powerful, beautiful voice. She did wondefully Madama Butterfly, La Boheme, La Wally, Gianni Schicchi, Andrea Chenier ecc., she was one of the best (if not even THE best) in verismo repertory... but I don't like her Norma at all. It's not a role for her, I guess.
Norma belongs to Callas, Caballé and Sutherland, in my opinion, the true goddesses of Bellini, Donizetti and generally belcanto roles.
I have never been a huge Tebaldi fan, but this is beautifully and sensitively sung. Her voice sounds absolutely lovely, and her musicianship was excellent. Brava!
reading through the comments , it is suprising when people always confuse Bel Canto(beautiful singing) with colloratura. There was no greater bel canto singer than Tebaldi.Her ability to sustain a line through out her career and always keep the sweet "morbidezza" in super dramatic roles Tosca ,Gioconda, and then still be able to spin out La Boheme .Dont kid yourselves,this was an enormous sound in the theatre she could blot out chorus and orchestra. it is right that we have this document
A mi criterio existen, aparte de la Callas, tres verdaderas normas: la de Renata Scotto es maravillosa, en segundo lugar la de Montserrat Caballé y por último la de Joan Sutherland. Estas cantantes si pudieron sacar la verdadera esencia del rol, en dramatismo y vocalidad.
@luisjose1962 coincido en parte, porque creo que Caballé supera a Scotto, ambas por debajo de Callas. No hay que olvidarse de ninguna forma de Rosa Ponselle ni de Claudia Muzio, ambas extraordinarias interpretes de Norma.
si nos vamos a poner a las bravas.....IMPECABLE FUE SUTHERLAND Y SOLO SUTHERLAND.....manada de ciervos..............que son muy bonitos......pero se los comen lo s......LEONES......a no ser que corran mucho......jejejejejejejeje
Tebaldi would have made a wonderful Norma. Her voice, so beautiful, colourful, large, and capable of maintaining a firm vocal line, would have been able to compensate for any sluggishness in her coloratura. Of course, coloratura was never her strong suit. But, she could get by in the 1950s as evidenced by her Violetta, studio Trovatore Leonora Giovanna d'Arco, & Giulio Cesare (!).
@VivaMariaCallas ... Yes, her Norma wouldn't have been 'complete' the way Callas's or Ponselle's was. But it could have been great.... After all, sluggish coloratura did not stop Gina Cigna from being a top 5 Norma in the 20th century.
grande tebaldi...grande callas.....grande caballe....GRANDE SUTHERLAND.......sonidos especiales.......dotados de una atmosfera especial.no son para compararse y perdonadme.......son para disfrutarlos en todas sus vibraciones sonoras.la belleza no tiene discusion.estas 4 maravillas te dejan sin respiracion.................
@bellini7verdi Que palabras más acertadas, muchas gracias por compartirlas con nosotros. Dios nos regaló estos tesoros de voces para deleitarnos y regocijarnos. Una vez más gracias.
Tebaldi and Callas are both dead (Callas died in 1977, Tebaldi in 2004) and yet the rivalry created by their claques and fan groups is still alive ?That's nuts! Both sopranos were magnificent in the post-World War II period of the 50's. Tebaldi never said she was a bel canto soprano. Callas sang Lucia, Sonambula, Norma, Anna Bolena, etc. She was a bel canto revivalist. As a solo piece, Tebaldi's Casta Diva is gorgeous but the reigning Norma of the 50's was Callas
autogyro: You are so right. Tebaldi made this recording in 1968 along with arias from Nabucco, etc. The recordings were suppressed for many, many years -- for good reason. Tebaldi was no Norma or Abigaille. She was an exceptionally beautiful soprano who was ideally matched with the "verismo" repertoire. She had virtually no bel canto agility, no flexability, and could not sing most of Callas' roles.
Between the two (who should never have been compared), Callas is who stands as a legend,
What is the year of this recording? That might go a long way in explaining why it sounds so bad -- Tebaldi sounds well past her prime here. Like most of the other commenters, I'm a big fan of hers -- but every singer needs to know when not to sing.
Tibaldi had this magnificently rich, open and natural voice, and she was an incredible artist. Calas had a very good voice, incredible artistry and a certain reedy quality to the voice that made her quite special. She was also a fine actress and Tibaldi wasn't.
It is a shame to compare the two. They were both great and everything one would want to say beyond that is mere preference.
I just wish they were both still with us to receive our applause.
Bravo! The incredible softness of her voice makes it so beautiful. In that respect, she is even better than Maria Callas! Callas' strong point was that dark melancholy undertone in her voice which fitted this aria so perfectly. But unfortunately, she had this inclination to a wide vibrato in her high notes giving her voice a tendency to shrillness.
she beats Callas by far. Callas sounds like a metal pan in caoparison to her. also Gheorghiu, Netrebko, Sutherland, Gruberova, Fleming are far better than Callas. Why always Callas? She was a grat singer, for sure, but...
agree on her dramatic exüression, but still think she is by far overestimated being considered "the" greatest. Depends on what she sang, and sometimes h o w she sang. But guess it``s a question of personal taste.
She doesn't beat Callas in this aria AT ALL. Her style is all wrong (Norma is not Santuzza), her fioritura is smudged and inept.... Take a guess why she didn't want this to be published. I love Tebaldi but this is AWFUL. And none of the singers you mentioned was or is a better Norma than Callas. Now if you had mentioned Ponselle....
Responding to Elizabetta611--I love Tebaldi too--this isn't quite AWFUL but it sure isn't all that GREAT--for one thing--where's the FIRE?--and I don't mean heat--I mean passion--where's the investment (italics) Callas is still the standardard--I say it again and again--convince me otherwise--this sometimes borders on screeching? Help me out here.
There is no doubt that she was a extremely talented singer, but it is a pity that she missed almost all consonants in this aria. Mamma mia it is Casta Diva!
This role does not fit Tebaldi sorry she did not have the power or il bel canto for it thats my opinion it takes a Caballe or a Callas to sing.... Thats all thank you
Tebaldi did NOT have better technique than Sutherland does. No one does or ever has.
They are different types of singers. Tebaldi was a lirico-spinto soprano that specialized in verismo, Sutherland was a dramatic coloratura soprano that specialized in bel canto.
Two different fachs, two drastically different styles, it's like comparing apples and lizards.
Ciao Maggie, non so se mai riuscirai a scovare questa musica. E' un inno alla purezza, alla lucentezza, alla grandezza, alla limpidezza della luna. COME TE.
non sono né musicologo, né musicista a me pare semplicemente grande una apertura vocale strepitosa e le parole suonano perfettemente, grande stile.. e grandissima voce norma è una vestale deve essere dolce nell'invocazione.., non una furia... brava tebaldi
Well, let's say it: Tebaldi had one of the most beautiful voices ever heard, but she was not well trained (a musician will hear this). John Ardoin says it in one of his books: "The simplest ornamentations were foreign to her; trills were either omitted or approximated, while scales and ornaments were cumbersomely sung." Tebaldi did not have belcanto technique, and in my opinion she should have refrained especially from singing 'Casta diva'. But it's just my opinion.
This comment has received too many negative votesshow
marcoCallas who never heard or saw Tebaldi live is basing his opinion of her on the writings of John Ardoin??????? HAHAHAHA!!! Son, stick with your Callas records. and shhh!!!!!!!!! in polite company
oh my DEE-yah!!Pompous much?!!Your slavish devotion to a violently under equipped soprano such as Miss Tebaldi,says VOLUMES about YOUR ignorance,and to 'cap it all off' you choose to berate and 'look down your nose' at someone else's opinion just because they have the temerity to quote/paraphrase someone (who actually IS rather 'learned' in the subject of opera) that you,obviously don't 'rate'...WHICH (by the way!!) once AGAIN reveals WAY more about YOU and your elitist,pseudo intellect!!YoUtwat
I just listened to Angela "Kindaboresya" Georghiu do this and even though Tebaldi continuously sings under pitch, it is still believable artistry compared to Gheorghiu who seems to always be singing in a self-promotion commercial, and is a hideous narcissist. Tebaldi was pure gold, dents and all. Her recorded Butterfly is simple the best that was ever done. I always laugh because secretly they were better friends. It was little tramps like Roberta Peters who gave Callas a hard time.
I have heard a lot worse in the opera house and I have seen Caballe <Sutherland <Verrett, Bumbry, Sass,Anderson Hunter and Ross to name a few. I would have like to have heard something like this from some of those ladies at times.
Grande Tebaldi! La numero uno al mondo nella storia della lirica, molto superiore alla Callas. Toscanini nel 1946 ha diretto per l'ultima volta alla Scala di Milano. In quell'occasione si esibì la Tebaldi e lui la definì "Voce d'angelo".
Tebaldi was a supremely great soprano, but she could have never done Norma or ANY bel canto roles. While the voice itself was gorgeous, she had zero ability in the negotiation of coloratura or florid music, and she knew this. Thus her attention turned to Puccini and the verismo composers, and rightfully so. Callas however HAD bel canto in her blood, and thus her Norma, Sonnambula, Anna Bolena, Armida, Pirata, Puritani, etc. remain models of their kind. Both were irreplaceable.
@Zva26 I've read about coloratura and verismo, but I would like it very much if you would be so kind as to explain to me exactly what each of this is.. I mean I understand that "coloratura" means to colour the role I guess with melismas (or nothing like that?) to enrich it, and that verismo could be something closer to reality (verita?), but as you see I don't really get any of these terms at all!
I'd be most thankful if you'd explain to me. Thank you in advance!
@shipcomesin Coloratura is a vocal technique referring to quick, florid movement of the vocal line. So, coloratura refers to the melismas themselves. Verismo, meanwhile, refers to the Italian operatic trend in the late 19th/early 20th century (ie. Pagliacci, Leoncavallo) depicting the lives of regular/lower class people and the more emotionally-obvious musical & singing style connected to the trend.... Verismo can sometimes also mean singing with audible sobs, gasps, and screams.
@Zva26 I have to admit you are right, I see what you mean however renata had a pure voice. A voice pure of quality for singing that´s why he was admired all over the world. But I have to add that he did not have a good top register voice.
@Zva26 There a many great soprano voices: Callas, Cabale, Sutherland, Horne, not to mention the Wagnerians. But when I think of Tibaldi, I think of a the voice that is naturally big, true and incredibly rich. I don't think any one was given a a greater voice per se than Tibaldi. Yet rarely did she set her brand on a piece so that people will say,
"this is the greatest performance ever of this aria."
What a wonderful souvenir of Tebaldi. She was smart enough and knew herself well enough to know she could never sing the whole role. She does an admirable job with this aria, however, even though I think this was recorded rather late in her career. Now only if most of the sopranos who sing this role were as intelligent to realize they have no business touching it.
Evidemment Mme Tebaldi n'est pas dans son élément, mais elle fait ce qu'elle peut et du mieux possible...tant que son ut(absent) n'est pas sollicité.De plus , on a entendu tellement pire dans cet air.... En tout état de cause, document intéressant...
someone wrote maestro serafin tryed to convince her to sing the part pf norma. if it´s true...for me unexpected. i´ve got great respect for the art of renata tebaldi, but this is truely nothing for her. it´s not the latest finding that her voice was convenient for verismo and some parts of verdi with wonderful results. but the style of "belcanto-operas" for this kind of voice? i´ve got polite doubts...i don´t want to offend no one.
She hated High C's... has anyone looked at a score of Norma? There are a billion High c's (well, I exaggerate, 30 plus).. I suppose they trnasposed the whole score down a half a tone?
Non a caso competeva con la Callas,avevano lo stesso calibro vocale,due eredi della Ponselle,due belcantiste,due personalità vocali già a 20 anni,le differenze?La Callas studiò la coloratura ed era più estesa,più duttile,la Tebaldi rimase al modello delle due ottave come era entrato in uso con l'avvento del verismo.Due grandi di pari livello
Callas was born for this role, but I still prefer Tebaldi in any role over Callas, because Tebaldi had a warmth in her tone that Callas could never match. She was a cold, hollering down a rainbarrow singer, though her acting carried her.
It's not that Callas sang NORMA badly...but she definitely had a problem with the legato. Nevertheless, she knew how TO ACT Norma. Adrien Alpendre (Marseille, France)
Strange.Tullio Serafin's advise to Tebaldi to study Norma it was 6 months and finally she decided not to sing Norma as she sang many roles much difficult than Norma (Aida, Forza del destino, La Wally etc).And Callas, in her very short career, never could to sing Norma well, hers were only efforts till Joan Sutherland debuted Norma and did justice to the score
Thats what you know. First, listen carefully. She lacks the breath and the legato line to properly sing the LONG phrases, which are trucated.. And She lacked the high C's which abound in the role.. This sounds like yelling! I like Tebaldi in many things but not this. And if you think Callas is not right, listen to her carefully and see where she breathes, and how nuanced all the lines are, beginning with all the crescendos and decrescendos. I am glad Tebaldi never did the role!
well, i suppose you know better than Master Serafin. He did offer to take a full six month period to coach La Tebaldi in this role. Perhaps his opinions on matters operatic are a shade less developed than yous. Dont be silly...
Yes, Maestro Serafin was quite wise and knowledgeable. Hence, his decision to have Maria Callas learn the role of Elvira in Bellini's I Puritani, and perform it, in less than a week, even though she was at the time singing Brunnhilde in Wagner's Die Walküre. Quite a smart man, that Serafin.
What have you been smoking? Aida, La Wally more difficult than Norma? Callas could never sing Norma well? Yes, and Tebaldi and Nilsson were the greatest Lucias of all time and Natalie Dessay the greatest Isolde.
Yes Belcanto is so easy that Renata Tebaldi was the one to bring it back to life... No, that was Callas. Please shows us a recording of Tebaldi singing Lucia's Mad Scene, Anna Bolenas Mad scene, Imogene's Mad Scene, her Medea, Armida, Lakme, Vestale, Traviata (not transposed down and at the correct tempo) het Puritani and her Walkure, Dinorahs Shadow Song, her Vespri SIciliani.
Yu sure can write in english! More Smarter? jajajajaja. Even more funny is the fact that even Bing said that the smartes arist he work with was Callas.
Makes one wonder what she may have been like in the complete role... what a pitty she did not take Serafin's advice - study the role with him for 6 months and have a 'bash'. What a 'bash' it would have been!!! The middle voice simply cant' be beaten - so ritch and beautiful; such power and control.
Also listen to how she rushes the phrases after the repeated High A's ... the descending lines are rushed, as she is running out of breath. The reason: She did not have an easy top.
This is what the BBC Tenor list should have been: 1. Jussi Bjorling (the best by far!!!) 2. Beniamino Gigli 3. Franco Corelli 4. Nicolai Gedda 5. Enrico Caruso 6. Alfredo Kraus 7. Tito Schipa 8. Fritz Wunderlich 9. William Matteuzi 10.Juan Diego Florez 11.Luciano Pavarotti 12.Carlos Bergonzi
This comment has received too many negative votesshow
What the BBC List should have been: (on a technical standpoint) 1. Joan Sutherland 2. Montserrat Caballe 3. Birgit Nilsson 4. Renata Tebaldi 5. Leontyne Price 6. Ileana Cotrubas 7. Mirella Freni 8. Beverly Sills 9. Kiri te Kanawa 10.Anna Netrebko
Renata had such a wonderful mixed voice!!! She stayed down so well, which is why her voice is so beautiful. Callas sang high larynx (pulled up chest), which is why she sounded shrieky and demonic at times.
It's really funny!!! She sings this so much better than Callas and she didn't even play the part. Renata is one of the greatest singers of our time. Of course this is not close to Sutherland's Norma.
It would be interesting to know why you state she sang this "so much better" than Callas. What are you referring to? Personal taste? Coloratura? Legato? Dynamics? Tone? Ribattuti? Filature? Tone? Pitch? Chromatic scales? Breath spans? Cadenza? Characterization?
Some good things here, but also some less good ones - not all perfectly in tune (especially in the repeat), meanness with the highest notes, and no traditional cadenza before the end. Perhaps she does deserve that rating of 19?
Thanks for posting...this is the greatest soprano of all time, in my opinion, none of this sliding into and out of notes and phrases with her, supurb technique, incredible classic LIGATO, and with gorgeous lush, rich voice -- no hype needed. The placement of her voice alone is to die for...and Netrebko has the same quality.
The Timeline Paging is very beautiful and moving.
There is so much to see and hear.
Ellevius 4 days ago
Simply dreadful.
BZBlaner 4 days ago
@BZBlaner The Christina Aguilera of opera singing.
Stefano94x 4 days ago
Not Callas , Renata! She is Norma, Callas is a balooon supported by her husband...
ciciiiish 4 weeks ago
MI FAI EMOZIONARE,BRAVA RENATA.
gvolpe100 1 month ago
Shade das Sie diese Oper nicht aufgenommen hat.Sie wäre bestimmt toll geworden.
7bbuwe 1 month ago
Dans ce rôle, Caballe surclasse toutes les autres selon moi, y compris Callas. N'en déplaise aux inconditionnels de M.Callas. Le problème avec Callas, ce n'est pas Callas (grande cantatrice) mais les callassiens qui frisent l'hystérie et l'insolence, pour ne pas dire la connerie!
liguten 2 months ago
@liguten - Estoy totalmente de acuerdo en TODO !!!
Maripudelmonaco 3 days ago
@Maripudelmonaco Muchas gracias por eso!!! Un beso
liguten 3 days ago
Tebaldi was superb in Verdi, Puccini, and in verismo roles. But Norma is the wrong role for her. She was a spinto dramatic soprano and Norma is a bel canto role which requires a coloratura dramatic soprano. Callas and Sutherland were the greatest Normas.
SymphonyBrahms 4 months ago
Tebaldi was a great artist and a great voice respect her for that. Callas has some recordings of Norma that do not show case her voice at it's best. When I listen to Bellini or Donizetti I prefer Caballe to Callas becasue the voice was so creamy and rich, no one matched Callas's passion her vocal agility except Sutherland and her sheer fearlessness and emotional immersion in this role. I heard some beautiful singing from all these ladies
intelegentable 6 months ago
This is not de Tebaldi´s masterpiece, but she has a marvellous and wonderfull voice, of a soprano lírico-spinto, and her "pianissimo" becames a legend. Her Legato was her majour "atout". I remember her duetos with the great Franco Corelli.
pbarroso001 6 months ago
Schade das Renata Tebaldi es nicht 10 Jahre früher gesungen hat!
7bbuwe 7 months ago
I love Tebaldi and she sings this aria well but it does not quite make it into the minute echelon that do this well: Callas, Muzio, Caballe, Scotto, etc.
FRANKHODGES39 7 months ago
You need to shut up, your are all a f-ing bore! You're critizing Tebaldi? Do you sing?
edro3638 7 months ago
You need to shut up, your are all a f-ing bore!
edro3638 7 months ago
I also have never been a big Tebaldi fan, and this is a very dull "Casta Diva", but then I might be too used to the more dramatic Normas. Callas for sure. After her, not sure. I actually like Renee Fleming's version (but I'm sure that comment will get me in trouble).
79barkingspider 7 months ago
Tebaldi was a magnificent soprano but Norma didn't really suit her voice. Norma is a bel canto role, requiring a coloratura with dramatic voice. She has the dramatic part but no coloratura. She also didn't make bel canto her specialty the way that Callas did singing Bolena, Lucia, Pirata, Armida, etc. Tebaldi was a spinto lyric dramatic voice great as Butterfly, Leonora and Tosca. But not Norma. She didn't have the experience for it.
OperaMystery80 7 months ago
@OperaMystery80 Too late for her voice (here in the late 60's) seems to be a better analysis: still a great voice on stage but in studio, breath is short, high notes too! From 45 to 55, she was good for romantic operas too : don't forget she sang bel canto : Il assedio di Corinto-Rossini, Guglielmo Tell-Rossini, Jules Cesar-Handel.... with tremendous success. Old live recordings proove it... She made another choice and, of course, it became impossible to go back.
OperaFree 6 months ago
@OperaFree Yes her age, I suppose in her prime she could have sung this much better. She had a beautiful voice; I'm not pro-Calls or pro-Tebaldi, I love to listen to a lot of different singers and they all have their merits. For Norma, however, I prefer Calls over Tebaldi. I also maintain that Tebaldi was better suited to Puccini, Verdi, verisimo but not bel canto. Did she ever sing Lucia ? Bolena ? Lucrezia ? Callas was the bel canto expert. Nonetheless I also adore Tebaldi.
OperaMystery80 6 months ago
Comment removed
OperaMystery80 7 months ago
OMG if you translate Casta Diva to english you will get Chaste Diva.... she make is so perfect.... that I could believe that she could change that title to Unfuckble Diva... those high notes ... you could feel that she knew that she would died virgin. Listening this makes you think that Norma wasn't for her.
But its ok.... she had nice voice, and in these days where ppl like Lady Gaga can make a fortune singing about Judas, whos me to judge Renata... right?
RonaldBarone 8 months ago
After listening to that high C coming from Renata's throat, I really beieve to Callas' statement about coloratura: it really help your voice, they're healthy. Listen to all the normal tension in her voice going away and with great ease making that gloriuos high C, after all those high B's.
RoOodOoOloOmeg 9 months ago
@RoOodOoOloOmeg Every singer knows that one must keep the voice flexible, even if one does not sing lots of coloratura. Coloratura passages are like medicine for the voice.
baritonebynight 8 months ago
Grande Renata...!!!
Rafaelcanaris 9 months ago
божественный голос можно слушать бесконечно
labardina 10 months ago
Tebaldi, one of greatest sopranos who ever lived, a spinto with a big and powerful, beautiful voice. She did wondefully Madama Butterfly, La Boheme, La Wally, Gianni Schicchi, Andrea Chenier ecc., she was one of the best (if not even THE best) in verismo repertory... but I don't like her Norma at all. It's not a role for her, I guess.
Norma belongs to Callas, Caballé and Sutherland, in my opinion, the true goddesses of Bellini, Donizetti and generally belcanto roles.
3F93 10 months ago
Glad to meet you everybody!
For the reason all known, I couldn't open and sign in youtube from 2008.
Today I climp up and sign in, but I don't know what will happen tomorrow.
If I can't sign in youtube, please email me.
My English is so poor, I hope all of you can understand what I said. haha...
best wishes!
yunshanwanli 10 months ago
Glad to meet you everybody!
For the reason all known, I couldn't open and sign in youtube from 2008.
Today I climp up and sign in, but I don't know what will happen tomorrow.
If I can't sign in youtube, please email me.
My English is so poor, I hope all of you can understand what I said. haha...
best wishes!
yunshanwanli 10 months ago
@yunshanwanli WELCOME BACK...THE OPERA WORLD NEED YOU...WE ALL MISSED YOU SO MUCH...
theo4u4me41 9 months ago
@theo4u4me41 Thank you very much!
I help a pop bass singer named Wangxi made a youtube homepage.His voice is quite beatiful and his singing vocal rangeI is low c-high d.
I will link Wangxi's homepage in my homepage.
Welcome everyboby's commment to him!
Thanks!
yunshanwanli 9 months ago
PATHETIC! Bellini would ring Tebaldi's thick neck for the massacer she does with Norma!
NEBESHIKU 11 months ago
just love her voice and this overlooked opera nurse, patient needs new sox again.
Kilchattan7 1 year ago
Great soprano!
elmirochka75 1 year ago
I have never been a huge Tebaldi fan, but this is beautifully and sensitively sung. Her voice sounds absolutely lovely, and her musicianship was excellent. Brava!
higharch 1 year ago
This comment has received too many negative votes show
un desastre
EmiliaVeraSoprano 1 year ago
Grandma! I'm blessed to be taught by one of her former private students!
gavinfarkas 1 year ago
But I would say that the area was really well sung. She was brilliant!
danilosongs 1 year ago
reading through the comments , it is suprising when people always confuse Bel Canto(beautiful singing) with colloratura. There was no greater bel canto singer than Tebaldi.Her ability to sustain a line through out her career and always keep the sweet "morbidezza" in super dramatic roles Tosca ,Gioconda, and then still be able to spin out La Boheme .Dont kid yourselves,this was an enormous sound in the theatre she could blot out chorus and orchestra. it is right that we have this document
TheValdoro 1 year ago
@TheValdoro Rather, I can think of one particular woman who was indeed a 'greater bel canto singer than Tebaldi.'
gustopheles 1 year ago
3:44 What was that?
orfeo2003 1 year ago
There are some very beautiful moments in this performance. But there are some bad ones, too! Still worth hearing.
rix657 1 year ago
Thank you, yunshanwanli, for this fine tribute to this beautiful and gracious lady whose voice lit up the night of the world.
idiotnumber8 1 year ago
Thank you yunshanwanli. That is a great tribute to a beautiful lady, one whose voice uniquely lit up The Night.
idiotnumber8 1 year ago
A mi criterio existen, aparte de la Callas, tres verdaderas normas: la de Renata Scotto es maravillosa, en segundo lugar la de Montserrat Caballé y por último la de Joan Sutherland. Estas cantantes si pudieron sacar la verdadera esencia del rol, en dramatismo y vocalidad.
luisjose1962 1 year ago
@luisjose1962 creo que debes darle el cradito tambien a leontyne price... : )
ishhf 1 year ago
@luisjose1962 coincido en parte, porque creo que Caballé supera a Scotto, ambas por debajo de Callas. No hay que olvidarse de ninguna forma de Rosa Ponselle ni de Claudia Muzio, ambas extraordinarias interpretes de Norma.
roddavids 1 year ago
si nos vamos a poner a las bravas.....IMPECABLE FUE SUTHERLAND Y SOLO SUTHERLAND.....manada de ciervos..............que son muy bonitos......pero se los comen lo s......LEONES......a no ser que corran mucho......jejejejejejejeje
bellini7verdi 1 year ago
Tebaldi would have made a wonderful Norma. Her voice, so beautiful, colourful, large, and capable of maintaining a firm vocal line, would have been able to compensate for any sluggishness in her coloratura. Of course, coloratura was never her strong suit. But, she could get by in the 1950s as evidenced by her Violetta, studio Trovatore Leonora Giovanna d'Arco, & Giulio Cesare (!).
VivaMariaCallas 1 year ago
@VivaMariaCallas ... Yes, her Norma wouldn't have been 'complete' the way Callas's or Ponselle's was. But it could have been great.... After all, sluggish coloratura did not stop Gina Cigna from being a top 5 Norma in the 20th century.
VivaMariaCallas 1 year ago
3:44 terrible!
AliciaDupres 1 year ago 7
@AliciaDupres if i could like your comment 200 times i would. Thats a prime example of both an offensive tone production and sloppy coloratura
DanyelHawkes 1 year ago
grande tebaldi...grande callas.....grande caballe....GRANDE SUTHERLAND.......sonidos especiales.......dotados de una atmosfera especial.no son para compararse y perdonadme.......son para disfrutarlos en todas sus vibraciones sonoras.la belleza no tiene discusion.estas 4 maravillas te dejan sin respiracion.................
bellini7verdi 1 year ago
@bellini7verdi Que palabras más acertadas, muchas gracias por compartirlas con nosotros. Dios nos regaló estos tesoros de voces para deleitarnos y regocijarnos. Una vez más gracias.
yonomepase 1 year ago
@bellini7verdi
que se llama Callas?
Nightfighter74 1 year ago
Best Soprano Ever.
Ciccioct91 1 year ago
@Ciccioct91 Best soprano is Maria Callas ^^
Klaudzia1991 1 year ago
@Klaudzia1991 Fortunately, the views are unquestionable
Ciccioct91 1 year ago
@Ciccioct91 ??? I don't understand ?
Klaudzia1991 1 year ago
@Klaudzia1991 in my opinione best soprano is Tebaldy. For you is Callas. Are a point of a views
Ciccioct91 1 year ago
@Ciccioct91 of course^^ you've right ^^
Klaudzia1991 1 year ago
Tebaldi and Callas are both dead (Callas died in 1977, Tebaldi in 2004) and yet the rivalry created by their claques and fan groups is still alive ?That's nuts! Both sopranos were magnificent in the post-World War II period of the 50's. Tebaldi never said she was a bel canto soprano. Callas sang Lucia, Sonambula, Norma, Anna Bolena, etc. She was a bel canto revivalist. As a solo piece, Tebaldi's Casta Diva is gorgeous but the reigning Norma of the 50's was Callas
MastersoftheOpera 1 year ago
@MastersoftheOpera you are right, Callas-Tebaldi rivalry is nonsense. They are very different sopranos, diverse repertoires and diverse temperaments.
yglofmi 1 year ago
autogyro: You are so right. Tebaldi made this recording in 1968 along with arias from Nabucco, etc. The recordings were suppressed for many, many years -- for good reason. Tebaldi was no Norma or Abigaille. She was an exceptionally beautiful soprano who was ideally matched with the "verismo" repertoire. She had virtually no bel canto agility, no flexability, and could not sing most of Callas' roles.
Between the two (who should never have been compared), Callas is who stands as a legend,
Zva26 1 year ago
best soprano. ( with all due respect )
autogyro100 1 year ago
What is the year of this recording? That might go a long way in explaining why it sounds so bad -- Tebaldi sounds well past her prime here. Like most of the other commenters, I'm a big fan of hers -- but every singer needs to know when not to sing.
kgus123 1 year ago
Tibaldi had this magnificently rich, open and natural voice, and she was an incredible artist. Calas had a very good voice, incredible artistry and a certain reedy quality to the voice that made her quite special. She was also a fine actress and Tibaldi wasn't.
It is a shame to compare the two. They were both great and everything one would want to say beyond that is mere preference.
I just wish they were both still with us to receive our applause.
mc0558 1 year ago
Callas is Callas.end
BelCantoFan2 1 year ago 4
@BelCantoFan2 stupid comentary
luisenrique1070 1 year ago
Bravo! The incredible softness of her voice makes it so beautiful. In that respect, she is even better than Maria Callas! Callas' strong point was that dark melancholy undertone in her voice which fitted this aria so perfectly. But unfortunately, she had this inclination to a wide vibrato in her high notes giving her voice a tendency to shrillness.
1000bestmusic 1 year ago
esistono delle amime speciali che hanno solo il compito di farci immaginare il paradiso
vincitutto 1 year ago
hai ragione ,poi tutta la nostra vita ci riconduce sempre ad una sublimazione che non rappresenta la nostra realtà
vincitutto 1 year ago
she beats Callas by far. Callas sounds like a metal pan in caoparison to her. also Gheorghiu, Netrebko, Sutherland, Gruberova, Fleming are far better than Callas. Why always Callas? She was a grat singer, for sure, but...
seetsebea1 2 years ago
You must have some hearing problem...:)
xafnndapp 1 year ago
sono d'accordo
vincitutto 1 year ago
Every singer is unique and who one may prefer is a matter of personal taste. What moves me personally most about Callas is her tremendous emotion.
thesongmaker 1 year ago 2
agree on her dramatic exüression, but still think she is by far overestimated being considered "the" greatest. Depends on what she sang, and sometimes h o w she sang. But guess it``s a question of personal taste.
seetsebea1 1 year ago
She doesn't beat Callas in this aria AT ALL. Her style is all wrong (Norma is not Santuzza), her fioritura is smudged and inept.... Take a guess why she didn't want this to be published. I love Tebaldi but this is AWFUL. And none of the singers you mentioned was or is a better Norma than Callas. Now if you had mentioned Ponselle....
Elisabetta611 1 year ago
well I know ba now you`re fixed on ponselle and Callas. maybe you`re about the same age, so you don`t hear well anymore
seetsebea1 1 year ago
Responding to Elizabetta611--I love Tebaldi too--this isn't quite AWFUL but it sure isn't all that GREAT--for one thing--where's the FIRE?--and I don't mean heat--I mean passion--where's the investment (italics) Callas is still the standardard--I say it again and again--convince me otherwise--this sometimes borders on screeching? Help me out here.
8cccpeevostokzempf 1 year ago
This is not so bad! PErhaps if she kept her vowel purer whilst descending, she would not have sung so "calante"
shaun20483 2 years ago
la voce e diversa della Callas, ma cosi bella e con forza, Ê uno spirito bellissimo, come cantava Lei la mamma morta nessuna lo fa
anacoreta68 2 years ago 4
I'm sorry! Not good! No agility! No suited for Bel canto. Great in verismo but here she's exposed!
yodavidnavarro 2 years ago
There is no doubt that she was a extremely talented singer, but it is a pity that she missed almost all consonants in this aria. Mamma mia it is Casta Diva!
EnricoAtHome 2 years ago 4
This role does not fit Tebaldi sorry she did not have the power or il bel canto for it thats my opinion it takes a Caballe or a Callas to sing.... Thats all thank you
MAPIAKALLAS 2 years ago
she was perfect. there's nothing else I can say, perfect.
rodrigououo 2 years ago
wow you have a bizarre concept of "perfection"...
xafnndapp 1 year ago
This is horrible
DjeddaPixie 2 years ago
I'm totally with you, it's breathy, and a little shrill.
Loismustdie26 2 years ago
Her voice is more solid and full than Joan Sutherland's. She probablty has better vocal technique than Joan.
SamuelConcepcion 2 years ago
Tebaldi did NOT have better technique than Sutherland does. No one does or ever has.
They are different types of singers. Tebaldi was a lirico-spinto soprano that specialized in verismo, Sutherland was a dramatic coloratura soprano that specialized in bel canto.
Two different fachs, two drastically different styles, it's like comparing apples and lizards.
Sommiel 2 years ago 3
you`re right. But doesn`t mean that the quality of one or the other is less.
seetsebea1 1 year ago
Bravisssima! La Tebald col suo timbro regale a la sua femineità a la voce perfecta para il ruolo. Paccato no l'avese inciso qualque ani fa
Oneguin65 2 years ago
Ciao Maggie, non so se mai riuscirai a scovare questa musica. E' un inno alla purezza, alla lucentezza, alla grandezza, alla limpidezza della luna. COME TE.
remigiogallard 2 years ago
i llllllllllllove it!!!!!!!!!!!!!!!!!!!
gantsh 2 years ago
non sono né musicologo, né musicista a me pare semplicemente grande una apertura vocale strepitosa e le parole suonano perfettemente, grande stile.. e grandissima voce norma è una vestale deve essere dolce nell'invocazione.., non una furia... brava tebaldi
chambersgif 2 years ago
Well, let's say it: Tebaldi had one of the most beautiful voices ever heard, but she was not well trained (a musician will hear this). John Ardoin says it in one of his books: "The simplest ornamentations were foreign to her; trills were either omitted or approximated, while scales and ornaments were cumbersomely sung." Tebaldi did not have belcanto technique, and in my opinion she should have refrained especially from singing 'Casta diva'. But it's just my opinion.
MarcoCallas 2 years ago 4
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marcoCallas who never heard or saw Tebaldi live is basing his opinion of her on the writings of John Ardoin??????? HAHAHAHA!!! Son, stick with your Callas records. and shhh!!!!!!!!! in polite company
ebony1911 2 years ago
Well, Ardoin's right. Her recording of this piece proves it.
Elisabetta611 2 years ago 7
oh my DEE-yah!!Pompous much?!!Your slavish devotion to a violently under equipped soprano such as Miss Tebaldi,says VOLUMES about YOUR ignorance,and to 'cap it all off' you choose to berate and 'look down your nose' at someone else's opinion just because they have the temerity to quote/paraphrase someone (who actually IS rather 'learned' in the subject of opera) that you,obviously don't 'rate'...WHICH (by the way!!) once AGAIN reveals WAY more about YOU and your elitist,pseudo intellect!!YoUtwat
TheMrMaz 2 years ago
Singing Norma is not Tebaldi's best . My favorite soprano who sing Norma is Norma Caballe and Maria Callas.VERY POWERFUL.
rcherokee954 2 years ago 9
I just listened to Angela "Kindaboresya" Georghiu do this and even though Tebaldi continuously sings under pitch, it is still believable artistry compared to Gheorghiu who seems to always be singing in a self-promotion commercial, and is a hideous narcissist. Tebaldi was pure gold, dents and all. Her recorded Butterfly is simple the best that was ever done. I always laugh because secretly they were better friends. It was little tramps like Roberta Peters who gave Callas a hard time.
sillyboydeux 2 years ago 3
I have heard a lot worse in the opera house and I have seen Caballe <Sutherland <Verrett, Bumbry, Sass,Anderson Hunter and Ross to name a few. I would have like to have heard something like this from some of those ladies at times.
jamesjmertins 2 years ago
i actually liked this
SiEtIn1 2 years ago
ouch what's that at 3:44 :(
Drelnis 2 years ago 4
Grande Tebaldi! La numero uno al mondo nella storia della lirica, molto superiore alla Callas. Toscanini nel 1946 ha diretto per l'ultima volta alla Scala di Milano. In quell'occasione si esibì la Tebaldi e lui la definì "Voce d'angelo".
michelemischitelli 2 years ago
Renata was aware she wasn't for bel canto unlike Netrebko who conquered bel canto because her voice is too boring for lyric rep.
thugman30 2 years ago
Tebaldi was a supremely great soprano, but she could have never done Norma or ANY bel canto roles. While the voice itself was gorgeous, she had zero ability in the negotiation of coloratura or florid music, and she knew this. Thus her attention turned to Puccini and the verismo composers, and rightfully so. Callas however HAD bel canto in her blood, and thus her Norma, Sonnambula, Anna Bolena, Armida, Pirata, Puritani, etc. remain models of their kind. Both were irreplaceable.
Zva26 2 years ago 17
@Zva26 Maria callas interpreted anything that she wanted.
peque1204 1 year ago
@Zva26 I've read about coloratura and verismo, but I would like it very much if you would be so kind as to explain to me exactly what each of this is.. I mean I understand that "coloratura" means to colour the role I guess with melismas (or nothing like that?) to enrich it, and that verismo could be something closer to reality (verita?), but as you see I don't really get any of these terms at all!
I'd be most thankful if you'd explain to me. Thank you in advance!
shipcomesin 1 year ago
@shipcomesin Coloratura is a vocal technique referring to quick, florid movement of the vocal line. So, coloratura refers to the melismas themselves. Verismo, meanwhile, refers to the Italian operatic trend in the late 19th/early 20th century (ie. Pagliacci, Leoncavallo) depicting the lives of regular/lower class people and the more emotionally-obvious musical & singing style connected to the trend.... Verismo can sometimes also mean singing with audible sobs, gasps, and screams.
VivaMariaCallas 1 year ago
@VivaMariaCallas thank you :)
shipcomesin 1 year ago
@Zva26 I have to admit you are right, I see what you mean however renata had a pure voice. A voice pure of quality for singing that´s why he was admired all over the world. But I have to add that he did not have a good top register voice.
tena2 1 year ago
@Zva26 There a many great soprano voices: Callas, Cabale, Sutherland, Horne, not to mention the Wagnerians. But when I think of Tibaldi, I think of a the voice that is naturally big, true and incredibly rich. I don't think any one was given a a greater voice per se than Tibaldi. Yet rarely did she set her brand on a piece so that people will say,
"this is the greatest performance ever of this aria."
mc0558 1 year ago
What a wonderful souvenir of Tebaldi. She was smart enough and knew herself well enough to know she could never sing the whole role. She does an admirable job with this aria, however, even though I think this was recorded rather late in her career. Now only if most of the sopranos who sing this role were as intelligent to realize they have no business touching it.
Shahrdad 2 years ago 4
супер))))))))))))))))))))
letvinn 2 years ago
Evidemment Mme Tebaldi n'est pas dans son élément, mais elle fait ce qu'elle peut et du mieux possible...tant que son ut(absent) n'est pas sollicité.De plus , on a entendu tellement pire dans cet air.... En tout état de cause, document intéressant...
antequem 2 years ago
someone wrote maestro serafin tryed to convince her to sing the part pf norma. if it´s true...for me unexpected. i´ve got great respect for the art of renata tebaldi, but this is truely nothing for her. it´s not the latest finding that her voice was convenient for verismo and some parts of verdi with wonderful results. but the style of "belcanto-operas" for this kind of voice? i´ve got polite doubts...i don´t want to offend no one.
lassisimo 2 years ago
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lassisimo 2 years ago
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She hated High C's... has anyone looked at a score of Norma? There are a billion High c's (well, I exaggerate, 30 plus).. I suppose they trnasposed the whole score down a half a tone?
kgarmaker123 2 years ago
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lassisimo 2 years ago
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sakmeof 2 years ago
Bloody beautiful! I understand why Maestro Serafin tryed to convince her to sing this role...
Dondinin 2 years ago 3
Bloody beautiful indeed!!...I DON'T understand why Maestro Serafin try to convince her to sing this role....
sakmeof 2 years ago
Because she would have been a marvelous Norma!
Dondinin 2 years ago
"marvelous" I doubt...
xafnndapp 2 years ago 2
una voce straordinaria, unica. Aprezzabile l'inerpretazione. sicuramente una GRANDE..!! franco roma
chambersgif 2 years ago
Non a caso competeva con la Callas,avevano lo stesso calibro vocale,due eredi della Ponselle,due belcantiste,due personalità vocali già a 20 anni,le differenze?La Callas studiò la coloratura ed era più estesa,più duttile,la Tebaldi rimase al modello delle due ottave come era entrato in uso con l'avvento del verismo.Due grandi di pari livello
mdmdragoni311 3 years ago
Callas was born for this role, but I still prefer Tebaldi in any role over Callas, because Tebaldi had a warmth in her tone that Callas could never match. She was a cold, hollering down a rainbarrow singer, though her acting carried her.
ceb2633 3 years ago
Was Maria Callas ... cold? Interesting point of view. Unique and original! :))
Aetion 2 years ago 2
u are right, quite unique! :)
xafnndapp 2 years ago
I worship Tebaldi from head to toe, but this is clearly not something for her.
Andante735 3 years ago 2
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la signora non ha idea di belcanto,canta norma come si cantasse aida!!!!
gencerito 3 years ago
_Very interesting,never heard this before. Thanks for posting. And the photos are beautiful!
operabuff1 3 years ago
It's not that Callas sang NORMA badly...but she definitely had a problem with the legato. Nevertheless, she knew how TO ACT Norma. Adrien Alpendre (Marseille, France)
Armenterosma 3 years ago
Callas problems with legato? You sure know a lot!
NEBESHIKU 2 years ago
clean your ears.you dont know s,about singing
doddsalfa 2 years ago
WiseMonki
It was 60 months not 6.
squareblock1 3 years ago
Strange.Tullio Serafin's advise to Tebaldi to study Norma it was 6 months and finally she decided not to sing Norma as she sang many roles much difficult than Norma (Aida, Forza del destino, La Wally etc).And Callas, in her very short career, never could to sing Norma well, hers were only efforts till Joan Sutherland debuted Norma and did justice to the score
bisigato 3 years ago
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Thats what you know. First, listen carefully. She lacks the breath and the legato line to properly sing the LONG phrases, which are trucated.. And She lacked the high C's which abound in the role.. This sounds like yelling! I like Tebaldi in many things but not this. And if you think Callas is not right, listen to her carefully and see where she breathes, and how nuanced all the lines are, beginning with all the crescendos and decrescendos. I am glad Tebaldi never did the role!
kgarmaker123 3 years ago
well, i suppose you know better than Master Serafin. He did offer to take a full six month period to coach La Tebaldi in this role. Perhaps his opinions on matters operatic are a shade less developed than yous. Dont be silly...
WiseMonki 3 years ago
Yes, Maestro Serafin was quite wise and knowledgeable. Hence, his decision to have Maria Callas learn the role of Elvira in Bellini's I Puritani, and perform it, in less than a week, even though she was at the time singing Brunnhilde in Wagner's Die Walküre. Quite a smart man, that Serafin.
Redboy4 3 years ago 2
I titally agree with you!
yodavidnavarro 3 years ago
What have you been smoking? Aida, La Wally more difficult than Norma? Callas could never sing Norma well? Yes, and Tebaldi and Nilsson were the greatest Lucias of all time and Natalie Dessay the greatest Isolde.
troppofiato 3 years ago 3
I don't know what that person has been smoking, but thank you for setting the record straight. I couldn't have possibly said it any better.
Andante735 3 years ago
On Isolde, have you forgotten Flagstad, or are you simply too young or to dumb to have heard the recordings? .....
VivaRenata 3 years ago
Yes Belcanto is so easy that Renata Tebaldi was the one to bring it back to life... No, that was Callas. Please shows us a recording of Tebaldi singing Lucia's Mad Scene, Anna Bolenas Mad scene, Imogene's Mad Scene, her Medea, Armida, Lakme, Vestale, Traviata (not transposed down and at the correct tempo) het Puritani and her Walkure, Dinorahs Shadow Song, her Vespri SIciliani.
NEBESHIKU 2 years ago 3
Renata Tebaldi was more smarter than Callas. Though Callas was a great artist.
AuthenticFeirce 2 years ago
Yu sure can write in english! More Smarter? jajajajaja. Even more funny is the fact that even Bing said that the smartes arist he work with was Callas.
NEBESHIKU 2 years ago
Before you attack me, learn how to write.
How is she smart. The woman destroyed her voice, by adding roles she vocally couldn't sing.
AuthenticFeirce 2 years ago
@NEBESHIKU SHUT THE FUCK UP
AuthenticFeirce 1 year ago
@AuthenticFeirce
NEBESHIKU 1 year ago
Makes one wonder what she may have been like in the complete role... what a pitty she did not take Serafin's advice - study the role with him for 6 months and have a 'bash'. What a 'bash' it would have been!!! The middle voice simply cant' be beaten - so ritch and beautiful; such power and control.
Great poast, Kindest regards,
WiseMonki 3 years ago
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Also listen to how she rushes the phrases after the repeated High A's ... the descending lines are rushed, as she is running out of breath. The reason: She did not have an easy top.
kgarmaker123 3 years ago
thank you for posting.....my favotite diva....
kimjfriedman 3 years ago
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gspichuni 3 years ago
She should have not approach the role, this is not for her, well at least she tried, and never came back to it, right she was.
zizeus 3 years ago
I forgot to add the great dramatic tenor Mario del Monaco below!!! I would put him at 12 and Bergonzi at 13.
operamonsiuer 3 years ago
operamonsiuer 3 years ago
It's 'Carlo' Bergonzi not 'Carlos'.
paulprocopolis 3 years ago 2
Pavarotti decimo? Caruso quinto? Oh mio Dio che pessima classifica!!!
aaffinito 3 years ago
This comment has received too many negative votes show
operamonsiuer 3 years ago
yeah yeah...
xafnndapp 3 years ago
Renata had such a wonderful mixed voice!!! She stayed down so well, which is why her voice is so beautiful. Callas sang high larynx (pulled up chest), which is why she sounded shrieky and demonic at times.
operamonsiuer 3 years ago 2
It's really funny!!! She sings this so much better than Callas and she didn't even play the part. Renata is one of the greatest singers of our time. Of course this is not close to Sutherland's Norma.
operamonsiuer 3 years ago
It would be interesting to know why you state she sang this "so much better" than Callas. What are you referring to? Personal taste? Coloratura? Legato? Dynamics? Tone? Ribattuti? Filature? Tone? Pitch? Chromatic scales? Breath spans? Cadenza? Characterization?
sevoflurane 3 years ago 2
grow up!
BernardProfitendieu 3 years ago
I have to ask you if you could avoid wasting my time with your fruitless replies. Regards.
sevoflurane 3 years ago
short answer: NO!
grow up!
BernardProfitendieu 3 years ago
Vide supra.
sevoflurane 3 years ago
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This is a smart post. and shows your knowledge of singing.
kgarmaker123 2 years ago
you must have some ear problem...
xafnndapp 3 years ago
I guess your talking about urself
operamonsiuer 3 years ago
Some good things here, but also some less good ones - not all perfectly in tune (especially in the repeat), meanness with the highest notes, and no traditional cadenza before the end. Perhaps she does deserve that rating of 19?
paulprocopolis 3 years ago
Thanks for posting...this is the greatest soprano of all time, in my opinion, none of this sliding into and out of notes and phrases with her, supurb technique, incredible classic LIGATO, and with gorgeous lush, rich voice -- no hype needed. The placement of her voice alone is to die for...and Netrebko has the same quality.
paulinexxxx 3 years ago 3
Try cold baths, and put some cream on.
KayliStonPatoThsRX 3 years ago