A 20 " VIUDOS DE LA CALLAS " NO LES GUSTA, NATURALMENTE. ´, LO QUE ES UN ELOGIO HACIA LA SUBLIME RENATA TEBALDI. SIN EMBARGO YO QUE SOY "TEBALDISTA " JAMÁS SE ME OCURRIRIA INSULTAR A MARIA CALLAS CANTANTE A LA QUE RESPETO , Y ME GUSTA. EL PROBLEMA ESTÁ EN QUE PREFIERO LA BELLEZA DE VOZ Y SENSIBILIDAD, A LA INTENSIDAD INTERPRETATIVA EN ESCENA, PORQUE AL FIN Y AL CABO, SOLO QUEDAN LOS DISCOS. PERO LAS DOS HAN SIDO ÚNICAS..
@rinzunza Me too. Fanciulla del West. My ears are still ringing, and that was 40 years ago! With the two of them peeling the paint off the 4th Ring. That's why I just giggle at those little twerps like Fleming and Gruberova. Buncha silly kids, spoiled rotten, and they don't know how to study the music, and "sing out" the way Pavarotti and this great soprano here knew from the time they were tots!
well... thats is the facs she got one of the greatest voice,,,,,,,,,she is NOT using in full potential.of her voice coz she does not know how.....respect
En castellano el adjetivo para esto es "sublime". La comparación con la Callas, un mal gusto insoportable. Evidentemente 1 tiene la voz más hermosa y la otra superior expresividad, so what! How can you add pears whit apples? Instantes sublimes hay en las 2.Quizá Tebaldi es más arte, Callas más vícera, o son las 2 caras de 1 misma moneda, o cómplices y cada 1 posibilita la exaltación de la otra. Aquí, Tebaldi, suprema, incomparable, única, dando prueba excelsa de cuánto era capaz.
If you like Puccini, check Paul Pottss studio version of Turandots NESSUN DORMA + 40 other operas by 40 other composers in my play list 20th CENTURY OPERAS ( including the world premiere of ARIA DEL CIRUJANO from Opera Opus Operatorum by Roberto Rius & Pedro Ipuche Riva )
20th CENTURY OPERAS : the MOST VIEWED and MOST COMPLETE last century opera playlist in YOU TUBE !
This is simply remarkable... such power and beauty. In this sense there has never been another spinto like La Tebaldi. Its miraculous. Simply miraculous! Thanks for this post. Kind regards,
I'm so going to find the music to sing this! this is awesome. Now, to go into my closet and find a fake doll to sing to and a kimono and pretend that I'm actually singing in front of people than in my room where nobody can hear me. Oh well!
lol... well bloody said. Sadly, it seems i am a member of their ranks. Lesson learned. Thank you!!! Forgive me if i dont' go and bugger myself though :). My warm and kind regards,
Autentiche lame sono le note della Tebaldi in questa straordinaria interpretazione! Lame capaci di tagliare le pareti di carta della casa giapponese che guarda impotente l'acme del dolore di Cio Cio San nel suo addio al piccolo, amatissimo figlio. Trasporto intenso, fluidità liquida nel canto, dizione perfetta ad ogni livello, bellezza del suono da togliere il fiato, non una screpolatura nell'esecuzione. Un autentico splendore!
abbiamo ancora le mani spellate per gli applausi alla Madama Butterfly del 1958 all'Arena Flegrea di napoli ed all'opera di Roma nel 1959. Il trionfo della serata napoletana è documentato nella registrazione con tutto l'immenso applauso alla fine dello spettacolo:grazie Renata!
wow this is very pretty, the last "guarda ben amore addio, addio piccolo amor" is beautiful one of the best interpretations of this aria I have ever heard....viva la tebaldi
Autentiche lame sono le note della Tebaldi in questa straordinaria interpretazione! Lame capaci di tagliare le pareti di carta della casa giapponese che guarda impotente l'acme del dolore di Cio Cio San nel suo addio al piccolo, amatissimo figlio. Trasporto intenso, fluidità liquida nel canto, dizione perfetta ad ogni livello, bellezza del suono da togliere il fiato, non una screpolatura nell'esecuzione. Un autentico splendore!
Come ha avuto modo di affermare anche Joan Sutherland, la Cio Cio San di Renata Tebaldi rimane una vetta assolutamente insuperabile! Come darle torto?
Assolutamente la incisione nel '58 con il maestro Serafin è la più grande Butterfly di tutti.Bonynge e la sua moglie Joan Sutherland sono grandi ammiratori della Tebaldi e la Renata era legata in amicizia con Bonynge , la Sutherland, Pavarotti, la Horne e Bergonzi.Grandi amici eloro sono i più grandi cantanti , la Tebaldi e la Joan Sutherland
Oh! That decrescendo on that phrase (I don't have the libretto) is deeply touching. It's the best expression in any form of the fragility of a woman who has the strength of her love consumed. Viva la Tebaldi!!!
You would think over the years this Tebaldi Callas thing would have turned to the appreciation of these two great opera singers but sad to say it does not look that way. Where does such a great school of singing exist today? I miss both. They held the stage with everything they had.
Flagstad , Nillsen and Tebaldi had huge voice s- Nillsen's voice unfortunately colorless but powerful, Falagstad and Tebaldi had beautiful sound. But sill like Nillsen.. Nillsen was not that good in italian opera, she lacked warm, does not mean that she wast not grea.
Her Tosca recording is so wonderful. I did not think she could sing it until I heard it. What a lesson I received about making a statement without hearing her. She did such "beautiful singing" - it was wonderful.
Everyone has his opinion and it is wonderful that people get so passionate about the singers they prefer. I do, however, consider that vulgar language is simply out of place.
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oh dear this fight will never be over.Callas ruined her shaky technique buti love to watch and often to hear her,Like Billy holiday she even w/out voice is great communicator.Price sings better than both of them ALLT HE TIME.Better training maybe better decisions about wht to sing.We have the documents .I think Kiri,schwarzkopf had perfection too more than many Italians.
Beautiful Voice but commpared to Callas, her singing or voice lacks Character and does not convince. But then again, I have never heard a voice like that of Callas.
Whoa, so much hatred! What has she ever done to you other than singing so magnificently? The acting quite doesn't match the level of singing, yes, but still not bad either. BTW, the makeup really made her look so"oriental" that I couldn't even recognize her! Are you saying Asian people look like frogs?
I am very sincere, though it's a quite fine performance, the '59 Scala Tosca is not the best of Tebaldi Toscas, she is not at her most inspired on that performance and she had had a throat infection a week after.'56 Met Tosca is Tebaldi/Tucker is unbeatable, Renata is in top form, everything she did that night is perfection
Tebaldi '51 Erede Tosca is superb, her filmed '61 Stuttgart Tosca opossite London now in DVD is perfect, Renata is in great voice, a greater performance than '59 Scala.Also there is a '67 Philadelphia Tosca with Raimondi and Bacquier and Tebaldi in top form too
Talk about a back-handed compliment. You trashed Tebaldi several posts ago with a jab about her lousy coloratura and her flat C, now you're praising her Gioconda. Sounds to me like you caught yourself midstream, then decided to row in the other direction. I am a HUGE, HUGE, Tebaldi lover, but I make it a point never to make rude commments about Callas's weak points- and there were many.
Her Gioconda WAS amazing. Her coloratura however WAS weak and her high notes HAD a tendency to be flat. One doesn't make the other impossible. I have always loved Tebaldi in Verismo & Verdi (Desdemona esp, but not Traviata), just as much as I love Callas in Bel Canto. Both were great. Yet both had serious flaws.
Tebaldi could sing well enough only the easiest things and this, in here, is not convincing.
La Divina went to places that nobody else could even dream of going..Callas is the greatest because she sang the greatest things in opera music, and did that well. simple..
What greekamerican coloratura singer never could do is to sing well because her voice was too flawed.She sang the greatest things??In her chronology there is a list of debuts and farewells at the same time, Butterfly only 1 time, Chenier only 1 time, Gioconda only 2 times, etc, etc, etc
The Butterfly and Chenier things were IMPROMPTU performances of roles she didn't care for. And she sang Gioconda for MANY years. Plus, she sang the most difficult role of all, Norma, about 100 times. How many times did Tebaldi sing Norma? 0 times.
Darling you must check the chronologies of both singers, Callas sang La Gioconda only two times (Verona 1947 around 5 perf.) and (Scala 1952 around 5 or 6 perf), 10 or 12 Gioconda performances in total.Tebaldi sang La Gioconda 39 times (39 or 40 perf) between 1966 and 1968
Callas sang Gioconda over 20 times. (24 times, if Kesting's chronology is correct) She recorded it twice. Her recordings are still the golden standard, esp. the first one with Barbieri (Superb!).
I am waiting the cronologhy dates because in Callas cronologhy Gioconda appears only two times: Verona, 1947 and Milano 1952 no more than 12 perf or perhaps maximun 14 perf in total.Waiting for your cronologhy dates
Imogene is one of the most difficult parts there is! It demands a brilliant coloratura technique, a BIG voice with many colors, a secure trill etc. etc. Aida and Butterfly are actually "easier", there you can get away with technical flaws I.E. not having a trill, a lousy coloratura technique and singing flat because it is less exposed. Both Gioconda and Adriana are known roles for divas "whose star is sinking". Do your homework!
Darling don't be angry but you are drunken ? Gioconda is one of the most hard part for a soprano, more difficult and harder than Turandot for example, Gina Cigna spoke about Gioconda as a "capolavoro" very few singer could sing Gioconda.I agree with you about Adriana, It is not a very demanding paart
Gioconda is extremely taxing technically and the singer must have THE voice.There are written 4 high Cs, and is plagued with many Bs and Bflats, but beyond that Gioconda is a part for a great artist, There were many risible Giocondas, very few good ones, Tebaldi was the best in the part
You think 4 high Cs make a role difficult? What about roles by Bellini and Donizetti that require Ds and Es? Or by Mozart whose Königin der Nacht requires and F? Or by Wagner? Bs and B-flats are high notes EVERY soprano must be able to sing well.
No, Imogene does NOT demand a big voice at all, a lyrical like Caballe or Lucia Aliberti , etc could sing Imogene, apart from that "Il Pirata" is not a great opera
Caballe a spinto ? only in your dreams darling !.
Caballe voice a lyrical and nearly small size .Aliberti a dramatic coloratura ? Aliberti NEVER existed.You don't know anything.Where do you learn anything about singing ?
I don't think I ever permitted you to call me "darling". Caballe's voice was ANYTHING but small, it was a luscious, beautiful spinto voice in her prime. Aliberti existed alright, she had a huge career.
Ypu are a very impertinent and bad spirit and ignorant 26 years old bitch.Since now, I will call you in thay way darling.Caballè voice was small because it was a hoollow voice, small middle and awful screamed forte high notes.
Callas had to search unknown operas like Il Pirata because she could not match with Tebaldi in the most important soprano roles, Butterfly, Aìda, Tosca, etc.
Remember Callas a soprano leggero with a too flawed voice (including her top that it was a disgrace, I have explained it before)
Nonsense. Callas was a CELEBRATED Tosca and Aida and her Butterfly was much loved as well. A soprano leggero would be Kathleen Battle. Callas sang Brünnhilde and Elvira in the same week, no leggero can do that. Plus, I think conductors like Serafin, Giulini, Rescigno and Gui would not have worked with a "leggero with a too flawed voice". It was Callas' supremacy that forced Tebaldi away to America.
Callas Tosca was weak, her first '53 DeSabata recording is only OK, but bland indeed, she lacks caffein, her voice lacks the weight for the part.Tebaldi made her New York debut inthe '54/'55, It was a decision made by Renata, she was singing a glorious Forza perf at LaScala even in 1955
Callas debuted at LaScala in an 1950 Aìda perf in replacement of Renata Tebaldi the queen of the house at that time, then Marìa made her official debut at LaScala on december 1951, she sang there every season till 1958, she was absent in 1959, she returned in 1960 with Poliuto
Callas was Tebaldi's second donna in a 1950 Scala Aìda performance.Tebaldi was singing triumphal Aìdas at LaScala and Renata left Marìa the last performance.Marìa would not make her debut in the house till december 1951
Tebaldi did NOT "leave" the last performance to Callas. Tebaldi canceled due to being indisposed. Yet, Callas' REAL debut came in 51 in the triumphant Vespri production.
Yes, I made a mistake, on february 1950 Tebaldi sang 6 Aìda perf at la Scala, after the april 26, 1950 perf Renata became sick or ill and Maria Meneghini sang 1 performance in replacement.On april 22 Tebaldi sang again another Aìda perf
Tebaldi made her New York debut in the '54/'55 season and became QUEEN of the Met till 1973.Callas made her Met debut in 1956/57 season and she only sang there another season 1957/58.Callas had NO great success at the Met, she had practically NO career there, only two seasons
Tebaldi went away from La Scala because Callas's rich husband for donating money to La Scala that is why Callas was given better roles. Anyway Tebaldi had better life in New York where she was called Miss Sold Out, Callas was not very popular in New York, it the was the land of Tebaldi.
VivaTebaldi, that is untrue. Tebaldi herself has said that Callas was not to blame for her leaving La Scala. It was the CLAQUE that drove her away, not Maria. (Who attended her performances and cheered her on!) Callas performed to sold out houses both in New York and Chicago, the same as Tebaldi. (She performed less in the USA because her home was in Europe)
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It was the living room of her apartment where Callas stayed longer.1958 was Callas last year of full schedule.She was only 34 years old and her career was coming to an end because she had lost her voice.Her technique was so bad, that's why she sang so badly
That's utter nonsense. Stome, please stop being rude, ok? Tebaldi herself behaved much better than her fans in that regard. She herself respected Maria Callas. And Maria Callas respected her and cheered her on at her performances. Their "feud" was fabricated by the press for the most part.
La Scala... too small?! Tebaldi's absence from La Scala was purely result of political games. The head of La Scala actually had a huge dislike for Callas, but Tebaldi left on her accord, claiming that she was too big to be a second donna (which she surely wasn't). Then, they attempted to acquit Callas in c.1958 & bring back Tebaldi, but, of course, Tebaldi refused to return on those conditions, stating that she would not return in light of another's forced departure.
Callas did not receive the best of reviews in 1956 at the Met because she was in questionable voice. The Lucia broadcast is permeated with nerves, Norma had pitch problems, & Tosca, oddly enough, was small in vocal size. In 1958, however, she received 'rave reviews' as Lucia, Tosca, & Violetta.
I think it's wouldn't be accurate to say that Tebaldi was more popular than Callas in New York. More loved? Probably, as she sang so many more performances there than Callas. However, more popular? That would be tough to say. Callas had a fanatical fan base in New York... as evident in her return to the Met in 1965.
Aìda is perhaps the most difficult soprano part ever.Elisabetta stop, you are writing nonsense things.Butterfly is other of the most difficult soprano parts
@Elisabetta611 Oh I beg to differ. The orchestra in Aida is enormous, her music is much more high lying than Tosca's, as well as appearing in most of the scenes, 2 duets for her with every other principal, Amneris, Radames and Amonasro. And the final duet is extremely taxing because of the sustained legato and pianissimo singing. Tosca just yells through most of it, and artistically is a poor cousin to Aida.
Tebaldi owned the roles of Tosca, Leonora/Forza, Maddalena/Chenier, Manon Lescaut, etc, she sang Butterfly, Aìda, La Gioconda , etc, many times.One of the most demanded roles.
Callas sang several easy things: Il pirata, Il Turco in Italia, Barbieri di Seviglia, Sonnambula
Imogene, Fiorilla and Amina EASY? Norma? Lady Macbeth? Isolde? Callas sang all of these and they are among the most difficult parts EVER! Demanding a secure Bel Canto technique (Which is why Tebaldi never sang them and stayed with verismo) and presence? Are you CRAZY?
Lady Macbeth only a couple of performances at la Scala in 1952, around 6 or 7 perf and goodbye.She sang Butterfly ONLY 3 days in her life , it was in Chicago in 1955, ONLY 3 performances.I am sorry but this is not to have a role in repertoire
She was to sing Lady Macbeth in Chicago and at the MET but for some reasons it didn't happen. She disliked Puccini and sang his roles as little as possible. (I.E. Mimi and Manon only on disc) Of course it means having a role in your rep, learning a role even means having it in your rep.
seriously, Tebaldi Fans and Callas fans need to shut the fuck up. I personally believe that these two women are great no matter what you say. Both of these women have stunning voices and give dramatic performances (like Tebaldi in this video.) Theres no point in fighting with each other over some youtube comments
Oh sure, that must be why she had MILLIONS of opera fans, musicians and OTHER PROFESSIONAL SINGERS (myself included) who still find her performances to be the height of the operatic art! Callas was great, but inconsistent (especially regarding pitch) and had some funky diction quirks.
What an acerbic riposte! Your admonishment has both succinctly and firmly put me in my place!! A base cultist, and no friend of opera or music, your anger is both apalling and unworthy of the great singer you so adore (nay, all singers).
Should not your phrase read "other sopranos are piece(s) of trash"???? Come now! Your poor ears must be exhausted, what having heard ALL the OTHER sopranos! Lean to reason, then to write, and then we can dicuss the relative passions/merits of these two great singers.
Callas was full of flaws, wobbly high Cs, ugly screaming voice, horrendous technique that cracked most of the time, let's not mention her monotonous high notes, unlike sutherland's ringing ones. hmmm let's see what else?
she lost her e-flat in 1955, she produced bizarre sounds in many coloratura passages (example: the Ah! si in saprgi d'amaro that became hooo! si) and they call her "la divina", and a dramatic coloratura! ¿?
You are a phsycotic.The real potrobsas wrote to me privately, he closed his account because you joined with a false nick "Potrodsas".You are gspichuni, figaronight6,suxmdbab,potrodsas and some others.Nobody answer to your mental ill posts, only Dural
You are a stupid little idiot full of complexes. Sei un piccolo stronzino che non capisce un cazzo, poveretto, forse sarebbe meglio per te di ritornare in scuola per imparare cos'è l'arte... Probably you are a great singer and conaisseur, you know better than anybody else what is good and bad. Because art is like this , there is good and bad, and the general criteria to follow is yours. Pitoyable petit con
Dondinin: You want to know who is gspichuni ?Go to M.Callas Tosca 1964 C.Garden and read the posts of Potrodsas, he is gspichuni and suxmdbab too, he uses several nicks.Dural who uploads ridiculous Callas videos allows him to write the most depraved insults to Tebaldi.READ Dondinin and you know who are Dural and gspuchini/potrodsas/suxmdbab
OMG... Who is this possible? I just have no words. Where does this people/person come from? How is it possible to speak like this about our beloved Tebaldi? even about anybody else it would be so offensive...He has a mental problem for sure...I don't think is a problem of liking or disliking.
Dondinin: Here you have another nick of the same person, gspichuni, suxmdbab, potrodsas, also figaronight6, you can read the most depraved insults in the Dural videos.Dural or gspichuni: the same thing
Why the pity? Do you also have pity for Callas Fans? They can be equally as aggressive, and blinded by their own inabilities to honestly admit that every singer has weak points to some degree or another.
I also long for that moment, but unfortunately it's next to impossible. Do you ever fantasize what you would do to him? I have this wonderful thought of rubbing his face in a big pile of hot horse s**t. Stuffing it down his throat, etc. S
A 20 " VIUDOS DE LA CALLAS " NO LES GUSTA, NATURALMENTE. ´, LO QUE ES UN ELOGIO HACIA LA SUBLIME RENATA TEBALDI. SIN EMBARGO YO QUE SOY "TEBALDISTA " JAMÁS SE ME OCURRIRIA INSULTAR A MARIA CALLAS CANTANTE A LA QUE RESPETO , Y ME GUSTA. EL PROBLEMA ESTÁ EN QUE PREFIERO LA BELLEZA DE VOZ Y SENSIBILIDAD, A LA INTENSIDAD INTERPRETATIVA EN ESCENA, PORQUE AL FIN Y AL CABO, SOLO QUEDAN LOS DISCOS. PERO LAS DOS HAN SIDO ÚNICAS..
Maripudelmonaco 2 months ago in playlist Renata Tebaldi
UFFF...TEBALDI AGAIN....LOUSY ACTING THAT IS ALMOST RIDICULOUS
simisimi9 4 months ago
Renata Tebaldi was one of a kind - thank God her music lives on and we
who loved her performances will never forget her. May she rest in peace.
Fegen 6 months ago
callas ? tebalbi? fck them all ! This is sublime ART!
coiron54 11 months ago
Mmm, beautiful but... nevertheless like coca-cola to champagne...
vivelhistoire 1 year ago
va gioca gioca... WOW!!!
papagena92 1 year ago
Do they sedate those kids or put corks in their ears? They always looks so passive!
elephantbarbiegirl 1 year ago 9
@elephantbarbiegirl that's what we'd all look like if our mothers talked to us so intensely for that amount of time ;-)
writersblocknight 9 months ago
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@rinzunza Me too. Fanciulla del West. My ears are still ringing, and that was 40 years ago! With the two of them peeling the paint off the 4th Ring. That's why I just giggle at those little twerps like Fleming and Gruberova. Buncha silly kids, spoiled rotten, and they don't know how to study the music, and "sing out" the way Pavarotti and this great soprano here knew from the time they were tots!
sillyboydeux 2 years ago
THe boy is like
OMG
this woman is going Mad... can someone help me here?
Madame .... I can hear you, no reason to sing that loud
RonaldBarone 2 years ago
LOL, You're so bad!
Chasson0318 2 years ago
she is wonderful
larissap84 2 years ago 3
so beautiful. Im brought to tears.
1SuperKawaii 2 years ago 3
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well... thats is the facs she got one of the greatest voice,,,,,,,,,she is NOT using in full potential.of her voice coz she does not know how.....respect
7805mimo 2 years ago
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great voice,,,pity she does not know how to use it.......
7805mimo 2 years ago
I simply love her, she's the best soprano and the best Madama Butterfly!!!!!!!!
Haristotel 2 years ago 2
He visto un millon de veces este este acto y un millon de veces he llorado, por la trajedia de la pobre Butterfly.
rinzunza 2 years ago
Comment removed
sillyboydeux 2 years ago
Fabulous!
Renata Tebaldi and Franco Corelli will
always be my favorites. Saw them both
perform at the Met Opera House in
New York City years ago.
Fegen 2 years ago 3
En castellano el adjetivo para esto es "sublime". La comparación con la Callas, un mal gusto insoportable. Evidentemente 1 tiene la voz más hermosa y la otra superior expresividad, so what! How can you add pears whit apples? Instantes sublimes hay en las 2.Quizá Tebaldi es más arte, Callas más vícera, o son las 2 caras de 1 misma moneda, o cómplices y cada 1 posibilita la exaltación de la otra. Aquí, Tebaldi, suprema, incomparable, única, dando prueba excelsa de cuánto era capaz.
bruckner4444 2 years ago 4
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If you like Puccini, check Paul Pottss studio version of Turandots NESSUN DORMA + 40 other operas by 40 other composers in my play list 20th CENTURY OPERAS ( including the world premiere of ARIA DEL CIRUJANO from Opera Opus Operatorum by Roberto Rius & Pedro Ipuche Riva )
20th CENTURY OPERAS : the MOST VIEWED and MOST COMPLETE last century opera playlist in YOU TUBE !
upatoia 2 years ago
This is simply remarkable... such power and beauty. In this sense there has never been another spinto like La Tebaldi. Its miraculous. Simply miraculous! Thanks for this post. Kind regards,
Lanark8 2 years ago 4
I'm so going to find the music to sing this! this is awesome. Now, to go into my closet and find a fake doll to sing to and a kimono and pretend that I'm actually singing in front of people than in my room where nobody can hear me. Oh well!
Suesukainah 2 years ago 6
Can I join you? I can supply the wigs!!!
bongga8 2 years ago 2
Be careful Suesu- I believe that is how David Carradine died!
wotanman 2 years ago
Sue Bonga and Wotan RFLMAO :-()
gigie555 2 years ago
you crazy little person... sometimes i do that and it's fun!...and creepy cause i'm a guy
SiEtIn1 2 years ago
You Opera-police are always too busy analyzing everyone to enjoy the performance. Go bugger yourselves!
madjackslament 3 years ago 3
lol... well bloody said. Sadly, it seems i am a member of their ranks. Lesson learned. Thank you!!! Forgive me if i dont' go and bugger myself though :). My warm and kind regards,
Lanark8 2 years ago
Autentiche lame sono le note della Tebaldi in questa straordinaria interpretazione! Lame capaci di tagliare le pareti di carta della casa giapponese che guarda impotente l'acme del dolore di Cio Cio San nel suo addio al piccolo, amatissimo figlio. Trasporto intenso, fluidità liquida nel canto, dizione perfetta ad ogni livello, bellezza del suono da togliere il fiato, non una screpolatura nell'esecuzione. Un autentico splendore!
SensusEtRatio 3 years ago 4
Divina...
rinzunza 3 years ago 2
abbiamo ancora le mani spellate per gli applausi alla Madama Butterfly del 1958 all'Arena Flegrea di napoli ed all'opera di Roma nel 1959. Il trionfo della serata napoletana è documentato nella registrazione con tutto l'immenso applauso alla fine dello spettacolo:grazie Renata!
giuseppecaruso2 3 years ago
wow this is very pretty, the last "guarda ben amore addio, addio piccolo amor" is beautiful one of the best interpretations of this aria I have ever heard....viva la tebaldi
TaVo78 3 years ago 4
Autentiche lame sono le note della Tebaldi in questa straordinaria interpretazione! Lame capaci di tagliare le pareti di carta della casa giapponese che guarda impotente l'acme del dolore di Cio Cio San nel suo addio al piccolo, amatissimo figlio. Trasporto intenso, fluidità liquida nel canto, dizione perfetta ad ogni livello, bellezza del suono da togliere il fiato, non una screpolatura nell'esecuzione. Un autentico splendore!
SensusEtRatio 3 years ago 11
@SensusEtRatio I tuoi commenti sono sempre perfetti e inappuntabili grazie tante.
Madame Butterfly è Madame Renata
80Mrmirko 1 year ago
Come ha avuto modo di affermare anche Joan Sutherland, la Cio Cio San di Renata Tebaldi rimane una vetta assolutamente insuperabile! Come darle torto?
SensusEtRatio 3 years ago 8
Assolutamente la incisione nel '58 con il maestro Serafin è la più grande Butterfly di tutti.Bonynge e la sua moglie Joan Sutherland sono grandi ammiratori della Tebaldi e la Renata era legata in amicizia con Bonynge , la Sutherland, Pavarotti, la Horne e Bergonzi.Grandi amici eloro sono i più grandi cantanti , la Tebaldi e la Joan Sutherland
claraprellitensky 3 years ago
I have all of Tebaldi's recordings as well as things she didn't record i.e., live recordings. But have never seen this before.
Wonderful performance. Beautiful costume too.
Thanks VAI. If you'd lower your prices I'd buy more of your recordings.
rockgor 3 years ago 3
WOW! So good!! great!
flouraki 3 years ago 5
absolutely divine. although i admit i feel sorry for the child, she is like choking him out through half the video hehe. :)
notcant 3 years ago
Oh! That decrescendo on that phrase (I don't have the libretto) is deeply touching. It's the best expression in any form of the fragility of a woman who has the strength of her love consumed. Viva la Tebaldi!!!
GavinLyKW 3 years ago
You would think over the years this Tebaldi Callas thing would have turned to the appreciation of these two great opera singers but sad to say it does not look that way. Where does such a great school of singing exist today? I miss both. They held the stage with everything they had.
profgv 3 years ago
I do agree with you - they were the greatest singers. This does not exist anymore.
VivaTebaldi 3 years ago 2
As much as a agree with you, you are derelict in not mentioning the Wagnerian opera singers. Flagstad and Nilssen of course!
gigie555 2 years ago
Flagstad , Nillsen and Tebaldi had huge voice s- Nillsen's voice unfortunately colorless but powerful, Falagstad and Tebaldi had beautiful sound. But sill like Nillsen.. Nillsen was not that good in italian opera, she lacked warm, does not mean that she wast not grea.
tebaldicallas 2 years ago
Her Tosca recording is so wonderful. I did not think she could sing it until I heard it. What a lesson I received about making a statement without hearing her. She did such "beautiful singing" - it was wonderful.
PecsMstr 2 years ago
Everyone has his opinion and it is wonderful that people get so passionate about the singers they prefer. I do, however, consider that vulgar language is simply out of place.
DavidJSGleaton 3 years ago
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gspichuni 4 years ago
At that point is more an Italin mother rathar than a japanese mother! lol
Fantastic!!
Cantachepassa 4 years ago
Calm down Vivamariacallas and Vivatebaldi, for VIVA MARIA CALLAS and VIVA Renata TEBALTI!
woodyaan 4 years ago
WELL SAID!!!!
ThePhantomsRose 4 years ago
merveilleuse chanteuse
guy1938 4 years ago
This comment has received too many negative votes show
oh dear this fight will never be over.Callas ruined her shaky technique buti love to watch and often to hear her,Like Billy holiday she even w/out voice is great communicator.Price sings better than both of them ALLT HE TIME.Better training maybe better decisions about wht to sing.We have the documents .I think Kiri,schwarzkopf had perfection too more than many Italians.
lovesGenet 4 years ago
She is better than Callas. SHE IS THE BEST MADAM BUTTERFLY EVER!
woodyaan 4 years ago
A great emotion: wonderful Tebaldi!!!
OperasPearls 4 years ago
Beautiful Voice but commpared to Callas, her singing or voice lacks Character and does not convince. But then again, I have never heard a voice like that of Callas.
emonticel 4 years ago
viviTebaldi, u,s,a don,t notthing about ART!
Rossalita 4 years ago
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gspichuni 4 years ago
You are an idiot.
tebaldicallas 2 years ago
strepitosa
giuseppecaruso2 4 years ago
@@:::::::::D
potrodsas 4 years ago
@@::::::D
potrodsas 4 years ago
@@:::D
potrodsas 4 years ago
la butterfly della tebaldi è magnifica... è la voce pucciniana per eccellenza
niobe4 4 years ago
Estoy de acuerdo... que sentimiento!!!
rinzunza 4 years ago
isn't that little boy suppose to be CioCio chan's son? i thought he was suppose to have have blonde hair like his dad
adonissbiaeh 4 years ago
Whoa, so much hatred! What has she ever done to you other than singing so magnificently? The acting quite doesn't match the level of singing, yes, but still not bad either. BTW, the makeup really made her look so"oriental" that I couldn't even recognize her! Are you saying Asian people look like frogs?
vitellia 4 years ago
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gspichuni 4 years ago
NO, NO, NO. Tebaldi's Gioconda was AMAZING.
Elisabetta611 4 years ago
Tebaldi debuted at la Scala in 1946 and sang there till 1955 every season being the star of that house along with Callas
trepicioni 4 years ago
In 1959/60 season Renata returned at LaScala for Tosca and Chenier and she came back in two final concerts in 1974 and 1976.
trepicioni 4 years ago
I loved the 59 Tosca with Tebaldi, Gobbi and di Stefano. Awesome stuff!
Elisabetta611 4 years ago
I am very sincere, though it's a quite fine performance, the '59 Scala Tosca is not the best of Tebaldi Toscas, she is not at her most inspired on that performance and she had had a throat infection a week after.'56 Met Tosca is Tebaldi/Tucker is unbeatable, Renata is in top form, everything she did that night is perfection
trepicioni 4 years ago
Tebaldi '51 Erede Tosca is superb, her filmed '61 Stuttgart Tosca opossite London now in DVD is perfect, Renata is in great voice, a greater performance than '59 Scala.Also there is a '67 Philadelphia Tosca with Raimondi and Bacquier and Tebaldi in top form too
trepicioni 4 years ago
My comment below was for Elisabetta611, not you trepicioni.
Andante735 4 years ago
Talk about a back-handed compliment. You trashed Tebaldi several posts ago with a jab about her lousy coloratura and her flat C, now you're praising her Gioconda. Sounds to me like you caught yourself midstream, then decided to row in the other direction. I am a HUGE, HUGE, Tebaldi lover, but I make it a point never to make rude commments about Callas's weak points- and there were many.
Andante735 4 years ago
Her Gioconda WAS amazing. Her coloratura however WAS weak and her high notes HAD a tendency to be flat. One doesn't make the other impossible. I have always loved Tebaldi in Verismo & Verdi (Desdemona esp, but not Traviata), just as much as I love Callas in Bel Canto. Both were great. Yet both had serious flaws.
Elisabetta611 4 years ago
But I do love BOTH Callas AND Tebaldi. In their own respective roles they are both amazing.
Elisabetta611 4 years ago
...No.. I don't think so.
rinzunza 4 years ago
Maria Calas never song Madama Butterfly? ... I not knew it...
rinzunza 4 years ago
Yes, Callas DID sing Butterfly. On disc AND on the stage.
Elisabetta611 4 years ago
Tebaldi could sing well enough only the easiest things and this, in here, is not convincing.
La Divina went to places that nobody else could even dream of going..Callas is the greatest because she sang the greatest things in opera music, and did that well. simple..
figaronight6 4 years ago
What greekamerican coloratura singer never could do is to sing well because her voice was too flawed.She sang the greatest things??In her chronology there is a list of debuts and farewells at the same time, Butterfly only 1 time, Chenier only 1 time, Gioconda only 2 times, etc, etc, etc
trepicioni 4 years ago
The Butterfly and Chenier things were IMPROMPTU performances of roles she didn't care for. And she sang Gioconda for MANY years. Plus, she sang the most difficult role of all, Norma, about 100 times. How many times did Tebaldi sing Norma? 0 times.
Elisabetta611 4 years ago
Darling you must check the chronologies of both singers, Callas sang La Gioconda only two times (Verona 1947 around 5 perf.) and (Scala 1952 around 5 or 6 perf), 10 or 12 Gioconda performances in total.Tebaldi sang La Gioconda 39 times (39 or 40 perf) between 1966 and 1968
trepicioni 4 years ago
Callas sang Gioconda over 20 times. (24 times, if Kesting's chronology is correct) She recorded it twice. Her recordings are still the golden standard, esp. the first one with Barbieri (Superb!).
Elisabetta611 4 years ago
I am waiting the cronologhy dates because in Callas cronologhy Gioconda appears only two times: Verona, 1947 and Milano 1952 no more than 12 perf or perhaps maximun 14 perf in total.Waiting for your cronologhy dates
trepicioni 4 years ago
Yes It's true, Callas sang Norma around 100 times (between 88 or 90 performances).
About Il Pirata's Imogene you must know it is not a very difficult opera.
Aìda ia a very difficult part, Norma, La Gioconda, La Forza del destino, Madama Butterfly, those are truly very difficult operas
trepicioni 4 years ago
Imogene is one of the most difficult parts there is! It demands a brilliant coloratura technique, a BIG voice with many colors, a secure trill etc. etc. Aida and Butterfly are actually "easier", there you can get away with technical flaws I.E. not having a trill, a lousy coloratura technique and singing flat because it is less exposed. Both Gioconda and Adriana are known roles for divas "whose star is sinking". Do your homework!
Elisabetta611 4 years ago
Darling don't be angry but you are drunken ? Gioconda is one of the most hard part for a soprano, more difficult and harder than Turandot for example, Gina Cigna spoke about Gioconda as a "capolavoro" very few singer could sing Gioconda.I agree with you about Adriana, It is not a very demanding paart
trepicioni 4 years ago
No, my dear. Gioconda is a LOUD part but not technically taxing. (Much like Turandot)
Elisabetta611 4 years ago
You are crazy, poor little young woman...
Gioconda is extremely taxing technically and the singer must have THE voice.There are written 4 high Cs, and is plagued with many Bs and Bflats, but beyond that Gioconda is a part for a great artist, There were many risible Giocondas, very few good ones, Tebaldi was the best in the part
trepicioni 4 years ago
You think 4 high Cs make a role difficult? What about roles by Bellini and Donizetti that require Ds and Es? Or by Mozart whose Königin der Nacht requires and F? Or by Wagner? Bs and B-flats are high notes EVERY soprano must be able to sing well.
Elisabetta611 4 years ago
No, Imogene does NOT demand a big voice at all, a lyrical like Caballe or Lucia Aliberti , etc could sing Imogene, apart from that "Il Pirata" is not a great opera
trepicioni 4 years ago
Caballe was a spinto and Aliberti was a dramatic coloratura. It's, along with Norma, one of the hardest roles ever.
Elisabetta611 4 years ago
Caballe a spinto ? only in your dreams darling !.
Caballe voice a lyrical and nearly small size .Aliberti a dramatic coloratura ? Aliberti NEVER existed.You don't know anything.Where do you learn anything about singing ?
trepicioni 4 years ago
I don't think I ever permitted you to call me "darling". Caballe's voice was ANYTHING but small, it was a luscious, beautiful spinto voice in her prime. Aliberti existed alright, she had a huge career.
Elisabetta611 4 years ago
Ypu are a very impertinent and bad spirit and ignorant 26 years old bitch.Since now, I will call you in thay way darling.Caballè voice was small because it was a hoollow voice, small middle and awful screamed forte high notes.
trepicioni 4 years ago
I am impertinent? Hah! Pot calling the kettle black? Ignorant idiot!
Elisabetta611 4 years ago
@trepicioni. Hahahahahaha. You're funny, really. Did you Caballé live, like me at Orange in Norma? My ears are still ringing!
sillyboydeux 1 year ago
Stop with Imogene, It's NOT a difficult part, NOT a great opera.Stop drinking wine darling
trepicioni 4 years ago
Stop behaving like a fool...darling.
Elisabetta611 4 years ago
And if Imogene wasn't a difficult part, why was Tebaldi incapable of singing it with her lousy coloratura, flat top above a C and missing trill?
Elisabetta611 4 years ago
Callas had to search unknown operas like Il Pirata because she could not match with Tebaldi in the most important soprano roles, Butterfly, Aìda, Tosca, etc.
Remember Callas a soprano leggero with a too flawed voice (including her top that it was a disgrace, I have explained it before)
trepicioni 4 years ago
Nonsense. Callas was a CELEBRATED Tosca and Aida and her Butterfly was much loved as well. A soprano leggero would be Kathleen Battle. Callas sang Brünnhilde and Elvira in the same week, no leggero can do that. Plus, I think conductors like Serafin, Giulini, Rescigno and Gui would not have worked with a "leggero with a too flawed voice". It was Callas' supremacy that forced Tebaldi away to America.
Elisabetta611 4 years ago
Callas Tosca was weak, her first '53 DeSabata recording is only OK, but bland indeed, she lacks caffein, her voice lacks the weight for the part.Tebaldi made her New York debut inthe '54/'55, It was a decision made by Renata, she was singing a glorious Forza perf at LaScala even in 1955
trepicioni 4 years ago
The de Sabata recording is recognised as the golden standard for all time. Get your facts straight. And a voice "lacking caffeine"? WTF?
Elisabetta611 4 years ago
Callas debuted at LaScala in an 1950 Aìda perf in replacement of Renata Tebaldi the queen of the house at that time, then Marìa made her official debut at LaScala on december 1951, she sang there every season till 1958, she was absent in 1959, she returned in 1960 with Poliuto
trepicioni 4 years ago
Callas was Tebaldi's second donna in a 1950 Scala Aìda performance.Tebaldi was singing triumphal Aìdas at LaScala and Renata left Marìa the last performance.Marìa would not make her debut in the house till december 1951
trepicioni 4 years ago
Tebaldi did NOT "leave" the last performance to Callas. Tebaldi canceled due to being indisposed. Yet, Callas' REAL debut came in 51 in the triumphant Vespri production.
Elisabetta611 4 years ago
Yes, I made a mistake, on february 1950 Tebaldi sang 6 Aìda perf at la Scala, after the april 26, 1950 perf Renata became sick or ill and Maria Meneghini sang 1 performance in replacement.On april 22 Tebaldi sang again another Aìda perf
trepicioni 4 years ago
Callas ended her Scala career with two final Medea perf in 1962.She never returned
trepicioni 4 years ago
There were plans for a return to La Scala but due to emotional and personal tragedies and fears it never happened. It was a tragedy.
Elisabetta611 4 years ago
Renata and Maria sang the same years at LaScala more or less, only that Renata could return in the '70s for two concerts
trepicioni 4 years ago
Tebaldi made her New York debut in the '54/'55 season and became QUEEN of the Met till 1973.Callas made her Met debut in 1956/57 season and she only sang there another season 1957/58.Callas had NO great success at the Met, she had practically NO career there, only two seasons
trepicioni 4 years ago
Tebaldi went away from La Scala because Callas's rich husband for donating money to La Scala that is why Callas was given better roles. Anyway Tebaldi had better life in New York where she was called Miss Sold Out, Callas was not very popular in New York, it the was the land of Tebaldi.
VivaTebaldi 4 years ago
VivaTebaldi, that is untrue. Tebaldi herself has said that Callas was not to blame for her leaving La Scala. It was the CLAQUE that drove her away, not Maria. (Who attended her performances and cheered her on!) Callas performed to sold out houses both in New York and Chicago, the same as Tebaldi. (She performed less in the USA because her home was in Europe)
Elisabetta611 4 years ago
This comment has received too many negative votes show
It was the living room of her apartment where Callas stayed longer.1958 was Callas last year of full schedule.She was only 34 years old and her career was coming to an end because she had lost her voice.Her technique was so bad, that's why she sang so badly
stome3139 4 years ago
That's utter nonsense. Stome, please stop being rude, ok? Tebaldi herself behaved much better than her fans in that regard. She herself respected Maria Callas. And Maria Callas respected her and cheered her on at her performances. Their "feud" was fabricated by the press for the most part.
Elisabetta611 4 years ago 2
Callas did not have always good reviews in New York, i know because i read some of them.
Tebaldi was more popular than Callas in New York, does not mean that i don't like Callas,
i do. Tebaldi made a great comeback at La Scala in 1959 - the house was too small to have both othese great singers.
VivaTebaldi 4 years ago
La Scala... too small?! Tebaldi's absence from La Scala was purely result of political games. The head of La Scala actually had a huge dislike for Callas, but Tebaldi left on her accord, claiming that she was too big to be a second donna (which she surely wasn't). Then, they attempted to acquit Callas in c.1958 & bring back Tebaldi, but, of course, Tebaldi refused to return on those conditions, stating that she would not return in light of another's forced departure.
VivaMariaCallas 4 years ago
Callas did not receive the best of reviews in 1956 at the Met because she was in questionable voice. The Lucia broadcast is permeated with nerves, Norma had pitch problems, & Tosca, oddly enough, was small in vocal size. In 1958, however, she received 'rave reviews' as Lucia, Tosca, & Violetta.
VivaMariaCallas 4 years ago
I think it's wouldn't be accurate to say that Tebaldi was more popular than Callas in New York. More loved? Probably, as she sang so many more performances there than Callas. However, more popular? That would be tough to say. Callas had a fanatical fan base in New York... as evident in her return to the Met in 1965.
VivaMariaCallas 4 years ago
I agree with you. I know that Tebaldi was not forced to leave. The were both equal.
I know that it was a big success in 1959 when she came back to sing "Tosca" with Di Stefano and Gobbi. Tebaldi did not believe in fighthing.
VivaTebaldi 4 years ago
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gspichuni 4 years ago
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gspichuni 4 years ago
Aìda is perhaps the most difficult soprano part ever.Elisabetta stop, you are writing nonsense things.Butterfly is other of the most difficult soprano parts
trepicioni 4 years ago
Aida the most difficult? With every second soprano singing it? Aida isn't harder than Tosca for heaven's sake!
Elisabetta611 4 years ago
@Elisabetta611 Oh I beg to differ. The orchestra in Aida is enormous, her music is much more high lying than Tosca's, as well as appearing in most of the scenes, 2 duets for her with every other principal, Amneris, Radames and Amonasro. And the final duet is extremely taxing because of the sustained legato and pianissimo singing. Tosca just yells through most of it, and artistically is a poor cousin to Aida.
sillyboydeux 1 year ago
Tebaldi owned the roles of Tosca, Leonora/Forza, Maddalena/Chenier, Manon Lescaut, etc, she sang Butterfly, Aìda, La Gioconda , etc, many times.One of the most demanded roles.
Callas sang several easy things: Il pirata, Il Turco in Italia, Barbieri di Seviglia, Sonnambula
trepicioni 4 years ago
Imogene, Fiorilla and Amina EASY? Norma? Lady Macbeth? Isolde? Callas sang all of these and they are among the most difficult parts EVER! Demanding a secure Bel Canto technique (Which is why Tebaldi never sang them and stayed with verismo) and presence? Are you CRAZY?
Elisabetta611 4 years ago
Lady Macbeth only a couple of performances at la Scala in 1952, around 6 or 7 perf and goodbye.She sang Butterfly ONLY 3 days in her life , it was in Chicago in 1955, ONLY 3 performances.I am sorry but this is not to have a role in repertoire
trepicioni 4 years ago
She was to sing Lady Macbeth in Chicago and at the MET but for some reasons it didn't happen. She disliked Puccini and sang his roles as little as possible. (I.E. Mimi and Manon only on disc) Of course it means having a role in your rep, learning a role even means having it in your rep.
Elisabetta611 4 years ago
I will say one dam thing none of you where born when she sang I was I should know miss callas is a great singer also
olivarri 4 years ago
seriously, Tebaldi Fans and Callas fans need to shut the fuck up. I personally believe that these two women are great no matter what you say. Both of these women have stunning voices and give dramatic performances (like Tebaldi in this video.) Theres no point in fighting with each other over some youtube comments
ComaLies225 4 years ago
She had a lot of trademark FAULTS on her DISTURBING AND UNPOLISHED metallic voice (no tone, NO BEAUTY, no control....and more).
NOT MENTION HER DISASTROUS AND FRAYED
"COLORATURA" = CRACKED, UNSTEADY and WEAK HIGH NOTES.
She is SCREAMING horribly singing her arias. No control, no tone, NO VOICE.
VOICE OUT OF TUNE - VOCE TERRIBILE
potrodsas 4 years ago
Yes ! disturbing and horrible voice ! no beauty !
No voice ! voce terribile !
She lacks all wonderful things la divina has
mangiatutti 4 years ago
Oh sure, that must be why she had MILLIONS of opera fans, musicians and OTHER PROFESSIONAL SINGERS (myself included) who still find her performances to be the height of the operatic art! Callas was great, but inconsistent (especially regarding pitch) and had some funky diction quirks.
theropodia 4 years ago
You are another fucking bastard
mangiatutti 4 years ago
What an acerbic riposte! Your admonishment has both succinctly and firmly put me in my place!! A base cultist, and no friend of opera or music, your anger is both apalling and unworthy of the great singer you so adore (nay, all singers).
theropodia 4 years ago
La divina is perfect.All the other sopranos are a piece of trash compared with Maria
mangiatutti 4 years ago
Should not your phrase read "other sopranos are piece(s) of trash"???? Come now! Your poor ears must be exhausted, what having heard ALL the OTHER sopranos! Lean to reason, then to write, and then we can dicuss the relative passions/merits of these two great singers.
theropodia 4 years ago
Presioso... Me encanta Tebaldi!!
Contratenor18mlg 4 years ago
Macanuda mujer esta Renata, cautivante ,hermosa, su canto muy impresionante. Gracias pr compartirla
nutriaman2 4 years ago
Callas was full of flaws, wobbly high Cs, ugly screaming voice, horrendous technique that cracked most of the time, let's not mention her monotonous high notes, unlike sutherland's ringing ones. hmmm let's see what else?
she lost her e-flat in 1955, she produced bizarre sounds in many coloratura passages (example: the Ah! si in saprgi d'amaro that became hooo! si) and they call her "la divina", and a dramatic coloratura! ¿?
operacollector 4 years ago
Throughly enjoyed this post - thanks
55nina 4 years ago
That was super! I liked her breakdown at the end: dramatic but not overly done.
Nivri80 4 years ago
It's not nearly as emotional as Callas. oo;
everloony 4 years ago
You are a phsycotic.The real potrobsas wrote to me privately, he closed his account because you joined with a false nick "Potrodsas".You are gspichuni, figaronight6,suxmdbab,potrodsas and some others.Nobody answer to your mental ill posts, only Dural
stome3139 4 years ago
good! good!
But he wrote to you ''privately''as you say..
Any chance to see this PM.??
Me and my friends want to laugh a bit more..
figaronight6 4 years ago
stome3139:
You sound like chief inspector Dreyfous...
Do you want us to book you in for Switzerland.?
figaronight6 4 years ago
Callas is the best i have heard but Tebaldi is not too bad.
Here i think she is''getting there''and sings basically
correct.
potrodsas 4 years ago
If Maria Callas would have sung very well, her name would have been Renata Tebaldi.Unfortunately Callas singing has too many flaws
stome3139 4 years ago
I think she is not bad, however we have heard lots of other voices more attractive than this.
oskisthsas 4 years ago
She is with no hesitation the greatest Butterfly ever. Here she is so dramatic, extremely tragic. Elle me bouleverse .
Dondinin 4 years ago
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gspichuni 4 years ago
You are a stupid little idiot full of complexes. Sei un piccolo stronzino che non capisce un cazzo, poveretto, forse sarebbe meglio per te di ritornare in scuola per imparare cos'è l'arte... Probably you are a great singer and conaisseur, you know better than anybody else what is good and bad. Because art is like this , there is good and bad, and the general criteria to follow is yours. Pitoyable petit con
Dondinin 4 years ago
Comment removed
gspichuni 4 years ago
Dondinin: You want to know who is gspichuni ?Go to M.Callas Tosca 1964 C.Garden and read the posts of Potrodsas, he is gspichuni and suxmdbab too, he uses several nicks.Dural who uploads ridiculous Callas videos allows him to write the most depraved insults to Tebaldi.READ Dondinin and you know who are Dural and gspuchini/potrodsas/suxmdbab
stome3139 4 years ago
OMG... Who is this possible? I just have no words. Where does this people/person come from? How is it possible to speak like this about our beloved Tebaldi? even about anybody else it would be so offensive...He has a mental problem for sure...I don't think is a problem of liking or disliking.
Dondinin 4 years ago
i think from Argentina dondinin..probably a farmer
and you have every right to protest on the subject of your favor soprano..yes.
figaronight6 4 years ago
Dondinin: Here you have another nick of the same person, gspichuni, suxmdbab, potrodsas, also figaronight6, you can read the most depraved insults in the Dural videos.Dural or gspichuni: the same thing
stome3139 4 years ago
He uses obscene language. He should be blocked
piax00 4 years ago
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gspichuni 4 years ago
Tebaldi is heartbreaking here - she is just great -
so much feeling in her voice - gspichuni if you don't like Tebaldi, please don't listen to her.
VivaTebaldi 4 years ago
Esta interpretación de " Tu tu piccolo Iddio" es la mas conmovedora que he visto en youtube hasta ahora.
Esta aria me rompe el corazón.
rinzunza 4 years ago
I would like to get the adress of gspichuni.
Then I could visit him and pay back...I long for that moment. Please help me get his adress if you know him!
OperaConnaisseur 4 years ago
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gspichuni 4 years ago
Silly little Tebaldi fan... I pity you.
Laeliapurpurata 4 years ago
Why the pity? Do you also have pity for Callas Fans? They can be equally as aggressive, and blinded by their own inabilities to honestly admit that every singer has weak points to some degree or another.
Andante735 4 years ago
I also long for that moment, but unfortunately it's next to impossible. Do you ever fantasize what you would do to him? I have this wonderful thought of rubbing his face in a big pile of hot horse s**t. Stuffing it down his throat, etc. S