>Tebaldi, Bjoerling - Erede: Great soloists, I agree. Tebaldi disproves
>anyone's contention that she was a shy and retiring singer. (Did she
ever do this
>role onstage? It could have been, with Gioconda, an ideal stage work
>in her later years.)
I think a lot of people have wondered with Mr. Blevins why
Tebaldi did not sing Santuzza in the 'seconda carriera' when
the top became more difficult and the chest voice stronger.
I always imagined that the physicality of the part was more than
she cared to deal with in her mid 40's. She sang the aria in her
final concert years, and it was always a high point (as it was
in my memory of the last Callas concert). But Tebaldi's
repertoire was never large. I count 35 roles total, with 18 of
them belonging only to the earliest part of her career. (Can
the singers in Rasponi's book like Caniglia really have done
as many parts as many times as they claim?)
My most vivid memory of a 'Cavalleria' performance had
Cossotto and G.-G. Guelfi. He must have been the last
Italian baritone in the Bechi style -- crude, but my goodness
was he loud. The duet with Cossotto must still be echoing in some
region of the stratosphere.
On another subject, I have never talked to someone who sang
with Lorraine Hunt who did not say she was one of the greatest
artists, vocally and dramatically, they had ever worked with.
Off the record people can be pretty vicious, but when Ms.
Hunt-Lieberson's name comes up I have never heard anything
but the greatest collegial respect and admiration.
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