Renata Tebaldi "La mamma morta" Andrea Chenier

From King KILM 110 Japan in 1993 (C) NHK 1961 Tokyo. From Giordano's Andrea Chenier. October 1, 1961

Category:

Music

Tags:

• Opera
• Giordano
• Andrea
• Chenier
• Maddalena
• Renata
• Tebaldi

[aronettoconiiff]

Well...Tebaldi is my favorite soprano forever...

[Marroiamaxu]

I totally agree. BUT Callas could sing everytning Tebaldi did because of the nature of her voice (dramatico coloratura), the other way around was not possible.

But that was just a quality Callas was born with. But Tebaldi has a Quality in the voice , timbre that is amazing!

[Maripudelmonaco]

Qué tonteria estar siempre enfrentando a dos maravillosas cantantes, tan totalmente distintas en su forma de interpretar.. para mí TEBALDI ha sido la mejor MADDALENA, personaje que ha cantado infinidad de veces,como no hay una NORMA, como CALLAS, y además compararlas en una ópera como ANDREA CHENIER, que MARIA sólo cantó una vez,pues no debía encontrarse cómoda. ME QUEDO CON LAS DOS Y CON ESO SE SALE GANANDO Y SE DISFRUTA ESCUCHÁNDOLAS.

[rafbilza]

@stubbweeb Yet here she sings gloriously in pitch

[Operafiend22]

The voice sounds somewhat tight here and as a result she clips the ending of some of her phrases, but my gosh this is still an impressive performance.

[olbel]

Amazing!!!



[Sophiestelle]

An Angel of heaven!

[TraVoiBelle]

@pedoni5 YES, I agree! Callas just screams in all high passages.

[stubbweeb]

If you watch videos of Tebaldi she always tucked her chin down and tensed her face when she sang any high notes. She sang gloriously, but was often gloriously flat! The hight note in this area should be a B Natural if sung in the correct key, not B Flat.

[stubbweeb]

If you watch videos of Tebaldi she always tucked her chin down and tensed her face when she sang any high notes. She sang gloriously, but was often gloriously flat!

[zamyrabyrd]

From 4:19 to 4:40, the heaviness of the attack (the 'pitch-intensity" effect) gives the impression of flatness, uncharacteristic of Tebalid in general. Otherwise, at the end of the Bb it is in tune with the orchestra. Callas did not have a strident voice by nature (nor was she an dramatic coloratura) and her early recordings testify to this. For some reason Tebaldi never put herself through the grueling work of bel canto coloratura that Callas did. Otherwise they could have sung the same roles.

[oceans80]

I think she was flat on the high note at 4:19 - I think I can see a flash of worry across her face just before she has to hit that note. Regardless, what a performance... I do love La Tebaldi... love that wall of beautiful sound she produces.