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Subject: Tebaldi Aida under Karajan
From: walter guitian <[log in to unmask]>
Reply-To:walter guitian <[log in to unmask]>
Date:Tue, 27 Sep 2016 02:49:47 +0000

text/plain (16 lines)

The two best Aídas are Tebaldi and Nilsson. The Aída voice is a soprano with a lyrical color for acts III and IV ,  but with a power and a technique of a drammatic soprano for the acts I and II. Tebaldi has everything in the Decca 1952 recording with Erede, she is very ductile, she can thin the sound on top, she modulates  high notes with perfection,  and she sings  with "only one voice". (You are never going to be able to talk "to sing well"  in singers who sing with a lot of different voices in the range) . The second Aída  , under Karajan, was recorded in Sofiensal Wienn, seven years later, on september 1959.In the Karajan Aída  the emission is less ductile a bit heavier, this is the only difference  no more. The velvet and richness of the voice are intact.Tebaldi's interpretation is the right balance ,  other sopranos are too exterior and that's not the most beautiful form of expression,  Tebaldi has "nobility" and that is pretty the ideal.Max suggested that in '59 Aída under Karajan some tape speed trickery was involved in getting  out a reasonable high C in the recording of the aria. That does not interest me , for as it can be for Tebaldi,  in the same way can also be for other sopranos in other recordings. The C in Karajan's O patria mia, the note is on pitch,  and a big one.

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